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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.
Tickets and information:
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Contents
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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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PARTICIPATING VENUES Bad Daddy's Burger Bar Beau Jo’s Colorado Style Pizza Bin 46 Craft Bar & Restaurant Blackjack Pizza & Salads Breakers Grill Caprese Trattoria Chuburger Cyclhops Bike Cantina Dickey's Barbecue Pit Flavor of India Fuzzy's Taco Shop Georgia Boys BBQ Grossen Bart Brewery
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Congratulations to the University of Colorado College of Music, whose efforts have brought entertainment, learning, melody, percussion and passion to our community. We’re proud to sponsor the University of Colorado College of Music.
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The New Art: Music Beyond Words
Discover Bixby
April 27 and 28
Boulder’s Progressive School Since 1970
♦ Small class size ♦ Talented teachers Discover Bixby School! ♦ Rich academics ♦ 3-acre campus with pool, sports Where we plant the seeds of deep fields & beautiful gardens and joyful learning every day! ♦ Engaging hands-on learning Learn more at: www.bixbyschool.org For a tour, email: Patricia Jarvis: admissions@bixbyschool.org
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2017-2018 SEASON
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
4/28–WEST SIDE STORY: BERNSTEIN AT 100
4/7–A SONG FOR SWANS 7:30 PM at Macky 7:30 PM at Macky
with Central City Opera
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Creating connections. Honoring lives. Embracing possibilities. You’ve spent a lifetime becoming the person you are today. And at Frasier, we celebrate this. Now is the time to explore your passions and expand your life in any direction you choose. Through your retirement years, our accredited full continuum of care is here to offer you security and peace of mind, all on our incredible 20-acre campus. With our 98 new beautifully appointed apartments, there’s even more opportunity to call Frasier home.
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Dedicated to making symphonic music surprising, more accessible, and relevant to people of all ages and backgrounds.
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Preview Concert Thursday, March 22 at 7pm
Opera Night in Boulder Saturday, March 24 at 7pm PRESENTING SPONSOR
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ARIODANTE
AN OPERA BY GEORGE FRIDERIC HANDEL April 26–29, 2018
ARIODANTE: APRIL 26–29
Artistic Team Leigh Holman Zachary Carrettin Bruce Bergner Molly Tiede Tom Robbins Ron Mueller Jeremy Reger Stephen Bertles Beniah Anderson Erin Hodgson Christie Conover
Stage Director Guest Conductor Set Designer Lighting Designer Costume Designer Technical Director Chorus Master Choreographer Fight Choreographer Associate Director Production Assistant
Cast ROLE
THURSDAY/SATURDAY CAST
King Ariodante Ginevra Lurcanio Polinesso Dalinda Odoardo
Zachary Bryant Rebecca Myers Maureen Bailey Patrick Bessenbacher Steven Groth Mary Kettlewell Melissa Moreno
FRIDAY/SUNDAY CAST
Erik Erlandson Claire McCahan Anna Whiteway Alex King Winona Martin Christine Honein Karl Allen
DANCERS/GREEK CHORUS Stephen Bertles Elizabeth Bowersox Grant Bowman Helena Regan
PROTEANS/GREEK CHORUS Michael Crone Casey Klopp Skyler Schlenker Sophia Zervas
Production will run approximately 3 hours and 45 minutes, including two 10-minute intermissions. Special thanks to All Occasion Creations for ceramic props. Join us for Twittermission! Tag us in your post or selfie for a chance to win a pair of tickets to any CU Presents performance. facebook.com/cupresents · Twitter: @cupresents C-2
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VIOLIN
Brune Macary Magee Capsouto Renee Hemsing-Patten Tom Yaron Summer Lusk Jennifer Diaz Spera
VIOLA
Andrew Krimm Mario River
CELLO
Mathieu D’Ordine Eric Haugen
BASS
BASSOON
THEORBO
HORN
HARPSICHORD
Brian Jack
Dante Ascarrunz
Jordan Miller Sarah Ford
OBOE
TRUMPET
Jennifer Stucki Bradley Shoemaker
Keith Barnhart Kajsa Teitelbaum Nathália Kato
Carrie McCune Ryan Spencer
Production & Technical Staff Jeff Rusnak Karen T. Federing Sarah Bassinger Paige Sentianin Cooper Braun-Enos Andy Koenig Ben Smith Dan Sjaastad Jennifer Melcher Margaret Boyle Lelah Radostis Jeannete Hickok Tom Robbins Chad Boltz Whitney Wolanin Alison Milan Yvonne Hines Ben Smith
MUSIC STAFF
Jeremy Reger Mutsumi Moteki Rebecca Golub Nathália Kato Barbie Noyes
Assistant Technical Director and Deck Supervisor Stage Manager Assistant Stage Manager Assistant Stage Manager Carpenter Carpenter Carpenter Carpenter Scenic Artist Assistant Scenic Artist Assistant Scenic Artist Makeup Designer Hand Properties and Wig Designer Hair Assistant Costume Assistant Costume Stitcher Costume Stitcher Light Board Operator
ARIODANTE: APRIL 26–29
Orchestra
Chorus Master and Head Vocal Coach Vocal Coach Rehearsal Pianist Rehearsal Pianist Rehearsal Pianist
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ARIODANTE: APRIL 26–29
Synopsis ACT ONE
In her dressing room, Princess Ginevra adorns herself to become beautiful for her love, Prince Ariodante. She confides to her friend and confident, Dalinda, that she is in love—and that her father, the King, supports the match. Polinesso the Duke of Albany bursts into the room, interrupting the happy scene and declaring his passion for Ginevra. She rebukes him forcefully and leaves. Dalinda, who is in love with Polinesso, informs the Duke that Ginevra loves Ariodante. After hinting that the Duke should abandon his quest to woo Genevra and turn his thoughts to her, Dalinda leaves. Once alone, Polinesso devises a plan that manipulates Dalinda’s feelings to overthrow his rival and gain the hand of Ginevra. In the royal gardens, we meet Ariodante, who speaks of courtly love. Ginevra soon joins him and they pledge their love for one another. The king gives them his blessing and instructs his courtier Oduardo to make plans for a wedding. Ariodante reflects on his happiness and pledges his constancy to Ginevra. Polinesso persuades Dalinda to take part in his evil plan. He asks her to dress in Ginevra’s clothing and to admit him into the princess’ quarters. In return, he will pledge his heart to hers forever. After the Duke leaves, Lurcanio—Ariodante’s brother—enters and declares his love for Dalinda … but she swears fidelity to Polinesso. Ariodante and Ginevra meet in a beautiful valley expressing their joy and happiness. They call upon nymphs to bless and celebrate their imminent union.
ACT TWO
That night, unable to sleep, Ariodante walks through the royal gardens that lead to the door of Ginevra’s chambers. Ariodante encounters Polinesso, who feigns surprise when he hears of the engagement. The Duke insists that Ginevra loves him, while Lurcanio observes all in hiding. Polinesso tells Ariodante to watch as “Ginevra” (i.e., Dalinda dressed as Ginevra) admits him to her bed chambers. Ariodante falls into despair and begs for death, but Lurcanio comes forward from the shadows and calls for his brother to seek revenge instead. Alone, Ariodante bemoans the betrayal of his beloved’s supposed infidelity. As day breaks, Polinesso celebrates the success of his plan and Dalinda rejoices over the promised love of Polinesso. In the hall of the King, he makes his final plans for the wedding of Ginevra and Ariodante. But the King is soon interrupted by Oduardo, who delivers the bad news that Ariodante has died by suicide, drowning himself in the sea. The King is heartbroken and, when he shares the news with Ginevra, she faints in shock and is carried to her chambers. Lurcanio presents himself to the King, who attempts to console him over the loss of his brother. But Lurcanio demands justice for his brother’s death, turning away from sympathy. He hands the King a letter that describes Ginevra admitting a lover to her chambers, causing his brother to kill himself in despair. Lurcanio swears that he will follow up this request with the point of his sword. The King disavows his daughter and Ginevra falls into madness—nothing Dalinda says or does brings her out of her delirium in which she perceives hell’s furies.
ACT THREE
Ariodante, who survived his suicide attempt, wanders through the woods and sees two assailants attacking a woman. He pursues the attackers and drives them off, discovering that the woman is Dalinda—and that the attack was ordered by Polinesso. Dalinda, thankful to Ariodante, reveals that it was in fact she—dressed in Ginevra’s clothing—who admitted the man to the princess’ chambers. He sets off immediately for the palace. Alone, Dalinda calls down the might of heaven on Polinesso. Oduardo attempts to persuade the King—who has refused to see his daughter until a champion steps forward to defend her honor—to change his mind. The hypocritical Polinesso appears, offering to be Ginevra’s champion. Under a death sentence, Ginevra is brought before the King, where she begs to kiss his hand before she dies. He agrees and informs her that a champion has stepped forward. Upon hearing that Polinesso will defend her, Ginevra refuses—but the King insists that the duel move forward. Polinesso and Lurcanio fight to the death, with Polinesso dealt a mortal blow. An unknown knight appears, who—to the astonishment of all—reveals himself to be Ariodante, and professes the innocence of Ginevra. As for the knight whom we believed to be Lurcanio: it was Dalinda who mortally struck Polinesso. She confesses her participation in the plot and the King pardons her. Oduardo returns with the news that, at his death, Polinesso also confessed his role in how events unfolded. The King leaves to find his daughter. Ariodante jubilantly hails the new day, which overcomes darkness. Lurcanio again professes his love for Dalinda, who confesses that the man she loved was a traitor. Lurcanio looks to Dalinda with hope that she will love him and she encourages him. Ginevra—confined to her chambers—is on the edge of despair when her father, the King, enters and tells her the joyful news. Ariodante follows asking her forgiveness for doubting her. Ginevra, astonished, professes her love for Ariodante. Both happy couples and the court convene to celebrate that virtue and love will always triumph over darkness. C-4
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From Stage Director Leigh Holman What a delight to have the opportunity to direct a second baroque opera in recent years at CU Boulder. (The other was “L’incoronazione di Poppea,” an early baroque opera by Monteverdi.) In this medieval fantasyconceived production, we tip our hats to HBO’s “Game of Thrones”—an ultimately feminist opera with swordfighting, evil villains, revenge, brutal punishments, love and redemption. Who can resist? An essential thrilling, yet challenging element of late-baroque opera—for both singer and director—is the da capo aria in ABA form. In “Ariodante,” much of the story is told in a series of recitatives and da capo (“from the head”) arias. Specifically, ABA form starts with the A section that contains a complete musical idea. The B section introduces different musical material, often with a different mood. The singer then returns to “the head” and repeats the A section. At the return, the artist adds varying vocal ornaments—it’s an opportunity to show off vocal virtuosity and a unique musical interpretation, similar to what happens in jazz (i.e., the main tune is established and the return of the musical theme is ornamented and improvised). It’s also important to call out that opera is a musical and theatrical genre. With this in mind, how does the ornamented A section advance the plot and character development? No repeat of music or text should happen without a clearly defined dramatic intention. The singer works with the conductor and director to craft a return to A that expresses the director’s dramatic vision, as well as the heightened emotion the singer-actor wishes to convey.
ARIODANTE: APRIL 26–29
Director, Eklund Opera Program
As director, I make decisions that determine movement or the absence of movement during the return of A. Sometimes an impassioned character only needs a bright light and a place to stand to create the most moving moment of drama you’ll ever see. At other times, I decide that—along with the energy and mood of the voice and ornaments—movement, stage business and visual staging are the best choices. With this insight into our meticulous relationship with the ABA form, sit back and enjoy the thrilling music of Handel, our incredible student voices and a story with a twist at the end!
From Zachary Carrettin Guest Conductor
In 1720s London, Handel achieved enormous popularity with his own operas, as well as those of other composers he presented at the Royal Academy of Music (1719-1728) and subsequently the King’s Theater. However, in 1733, a new company was formed: the Opera of the Nobility produced opera exclusively in English, recruiting the most praised and valued lead singers and securing rental of the King’s Theater. (Despite numerous requests, Handel never wrote an English opera). Handel had to assemble a new cast for “Ariodante,” taking some risks—and was forced to change the venue, as he no longer retained a lease at the King’s Theater. It’s therefore remarkable that “Ariodante” was a success in its premiere run of 11 consecutive performances at the new Covent Garden in January 1735. Handel secured extraordinary singers from Italy and London, including the famed castrato Giovanni Carestini and the soprano Anna Maria Strada (who was loyal to Handel and remained by his side when the Opera of the Nobility recruited his other singers). Additionally, a renowned ballet troupe—under the direction of famed dancer and choreographer Marie Salle—performed throughout the opera. Salle’s work was known for its expressivity in both movement and costume, breaking from traditional and predictable forms. The libretto, by Antonio Salvi, is based on Cantos 5 and 6 from Ariosto’s “Orlando Furioso” (1516), a source Handel used in three opera plots in the 1730s (i.e., “Orlando,” “Ariodante” and “Alcina”). Handel’s mastery of characterization is particularly notable in “Ariodante.”
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ARIODANTE: APRIL 26–29
Here, our hero is first revealed as a sensitive figure, singing “...they speak of love in their own language, the stream, grass and the beech tree, to my enamored heart.” And in the duet Prendi da questo mano, Ariodante is deferential to the Princess Ginevra in a manner that sets the stage for the overarching statement of Ariosti’s 16th-century plot: capital punishment for women’s infidelity is uncivilized. In Salvi’s libretto and Handel’s brilliant and dramatically essential writing, Princess Ginevra and Dalinda are revealed as vulnerable in their surroundings due to gender. Polinesso manipulates Dalinda; the King abandons his daughter, Ginevra; and Ariodante chooses suicide over communication with his seemingly guilty betrothed. Interestingly, as Polinesso was sung by an alto (Maria Negri) in the 1735 production, the layers of complexity in this “pants” role were illuminated by exploring the veil between the character and the person playing the role. This opera examines love, trust and duty through various perspectives, all generated by sublime musical composition. Handel paints the emotions and states of mind in harmony, texture and flowering melody, rich in virtuosity. Nothing is superfluous and each phrase reveals more detail about the character, more nuance of the plot.
The Company KARL ALLEN—Odoardo Karl Allen, from Longmont, Colorado, is in his second semester of his junior year as a bachelor’s student. Now in his sixth appearance with Eklund Opera, he previously appeared as a policeman in “The Gospel of Mary Magdalene,” composed and directed by Mark Adamo in the CU New Opera Workshop program. He has also performed Paul in Eklund Opera’s “Red, Hot and Cole” and Pritschitsch in “Die Lustige Witwe.” In 2017, Karl won first place in Musical Theater at the Colorado/Wyoming NATS auditions. He will be attending the Up North Vocal Institute Young Artists Program this summer. Karl works as a cantor at Guardian Angels Catholic Parish in Mead. He’s a student of Matthew Chellis. MAUREEN BAILEY—Ginevra Maureen Bailey is thrilled to be performing in her fifth and final production with Eklund Opera. Other credits with Eklund Opera include Sylviane in Léhar’s “The Merry Widow,” Linda Porter in “Red Hot and Cole,” First Lady in Mozart’s “Die Zauberflöte” and Rosalinda in Strauss’ “Die Fledermaus.” She also sang the role of Jenny in Ned Rorem’s “Three Sisters Who Are Not Sisters,” participated in the 2016 CU NOW workshop of Jake Heggie and Gene Scheer’s “It’s A Wonderful Life” and performs regularly as a choral pro with the Boulder-based Ars Nova Singers. Previously, Bailey also worked in the development departments of the Colorado Symphony and the Santa Fe Opera, and followed her love of wine to a job at Mari Vineyards in Northern Michigan. She received a bachelor’s degree in French horn performance and economics and is currently pursuing a master’s in vocal performance as a student of Abigail Nims and Robert Nims. PATRICK BESSENBACHER—Lurcanio Kansas native Patrick Bessenbacher is a sophomore. Now in his fourth show with Eklund Opera, he was previously featured in the ensembles of “Die Fledermaus,” “Die Zauberflöte” and “Sweeney Todd.” He also played the role of Paul in “Red Hot and Cole.” Bessenbacher is excited to continue his creative journey at CU Boulder as a student of Matthew Chellis. ZACHARY BRYANT—King Zachary Bryant is honored to return to Eklund Opera for his fourth production following recent appearances as Anthony Hope in “Sweeney Todd,” Kromov in “The Merry Widow” and baritone lead in CU NOW’s Composer Fellows’ Initiative. A native of Houston, Texas, Zachary
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previously performed with the Houston Grand Opera chorus and has appeared with the Houston Gilbert and Sullivan Society as Bosun/Sir Joseph Porter cover (“H.M.S. Pinafore”) and Hercules/ J.W. Wells cover (“The Sorcerer”). Credits while studying at Columbus State University include Sir Joseph Porter (“H.M.S. Pinafore”), Rapunzel’s Prince (“Into the Woods”) and Papageno (“Die Zauberflöte” scenes), in addition to scenes as Figaro and Count Almaviva (“Le Nozze di Figaro”) and the title role in “Don Giovanni” with the Westminster Choir College summer program in Florence, Italy. Equally at home in other disciplines, Zachary has performed musical theatre and jazz revues with Bayou City Concert Musicals and has been on faculty with the Alley Theatre Conservatory and outreach programs. Bryant works with the CU Entrepreneurship Center for Music and is pursuing his master’s degree as a student of Andrew Garland. ERIK ERLANDSON—King Erik Erlandson is a baritone from Minnesota and this is his fourth performance with Eklund Opera. He earned a bachelor’s degree at DePauw University and a master’s degree at Louisiana State University. While pursuing his education, he participated in numerous summer young artist programs, gaining knowledge and experience in both the French and Italian styles of performance. Erlandson has performed a range of characters from opera and Broadway repertory, including Papageno, Marullo, Don Giovanni, Claudio, Sykos, Judge Turpin and the Baker. He was excited to continue his doctorate in voice performance and pedagogy at CU Boulder this spring. Erlandson has been awarded a teaching assistant position and looks forward to continue working closely with Patrick Mason. STEVEN GROTH—Polinesso Baritone Steven Groth—from Delafield, Wisconsin—earned bachelor’s degrees from the University of Wisconsin-Madison in choral music education and French. This spring, he completed master’s degrees in vocal performance and collaborative piano from the University of Missouri in Columbia. Recent performance credits include Baron Douphol in “La Traviata,” Mr. Webb in “Our Town” and Count Almaviva in “Le Nozze di Figaro.” As an educator, Groth has been an active member of the Missouri Federation of Music Clubs for the past two years and currently teaches voice, piano and violin at several Front Range locations. He’s thrilled to join Eklund Opera for this production of “Ariodante.”
CHRISTINE HONEIN—Dalinda Christine Honein is a Lebanese-American soprano who has performed in opera, musical theater, concerts and recitals throughout the United States and the Middle East. A recent graduate of Florida State University, Honein has performed many roles, including Drusilla, Clorinda and Papagena (“The Stolen Princess”) and premiered the role of Dora in the educational outreach version of Lori Laitman’s “The Three Feathers.” With the collaboration of pianist James Weaver, Honein released the album “Road to Light” last summer to help raise funds for the music ministry at her church. Honein earned a bachelor’s in music from Florida State University and—as a recipient of the Galen & Ada Belle Spencer Foundation—is currently completing a master’s in music at CU Boulder. MARY KETTLEWELL—Dalinda Originally from Columbia, Missouri, Mary Kettlewell has performed with Eklund Opera as Rosalinde in Strauss’ “Die Fledermaus,” Second Lady in Mozart’s “Die Zauberflöte” and Valencienne in Lehár’s “Die Lustige Witwe.” Previously, Kettlewell has performed as Susanna in Mozart’s “Le Nozze di Figaro” (Show-Me Opera), Adele in “Die Fledermaus” (Missouri Symphony Society), Noémie in Massenet’s “Cendrillon” (Boulder Opera) and Miriam in Mark Adamo’s “The Gospel of Mary Magdalene” (CU NOW). This summer, Kettlewell looks forward to performing the role of Selena in a CU NOW musical workshop of Jake Heggie’s “If I Were You.” Kettlewell is a student of Jennifer Bird and Sandra Kungle. ALEX KING—Lurcanio Tenor and double bassist Alex King recently moved to Boulder to pursue graduate studies in vocal performance. He received his bachelor’s degree in double bass performance from Minot State University in North Dakota. He has performed in productions of “Carmen,” “The Magic Flute,” “The Gospel of Mary Magdalene” and, most recently, CU Boulder’s production of “The Merry Widow.” King has also served as principal bassist for the Minot Symphony Orchestra and Bismarck-Mandan Symphony Orchestra. He’s a student of Matthew Chellis and Paul Erhard. WINONA MARTIN—Polinesso Winona Martin is in the fourth year of her undergraduate degree at the University of Colorado Boulder. Her previous credits with
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CLAIRE McCAHAN—Ariodante This is Claire McCahan’s third production with Eklund Opera, having recently performed the role of Third Lady in Mozart’s “Die Zauberflöte” and Prince Orlofsky in Strauss’ “Die Fledermaus.” Other recent credits include alto soloist in Vivaldi’s “Gloria” with the Longmont Symphony and Mozart’s “Requiem” with the CU Boulder choruses and orchestra, as well as Euodia in CU NOW’s recent production of Mark Adamo’s “The Gospel of Mary Magdalene.” A member of the Eklund Opera Theater Singers, she also performs for a number of community and CU Boulder outreach events. This season, she looks forward to performing as alto soloist with Boulder’s Cantabile ensemble and workshopping the role of Brittomara in Jake Heggie’s “If I Were You” with CU NOW. McCahan is pursuing her master’s in music studying with Abigail Nims and Matthew Chellis. MELISSA MORENO—Odoardo Melissa Moreno’s previous credits include Eklund Opera’s productions of “The Merry Widow” and “The Magic Flute,” and participation in the choruses of “La Traviata,” performed in Torreon, Mexico. She is in her junior year studying vocal performance with Abigail Nims. Moreno is incredibly excited to perform her first role in this production. REBECCA MYERS—Ariodante A first year master’s student, Rebecca Myers earned a bachelor’s degree from Eastern Michigan University. This is her first production with Eklund Opera, and her previous role credits include Cherubino in Mozart’s “Le Nozze di Figaro,” Prince Orlofsky in Strauss’ “Die Fledermaus” and Zita in Puccini’s “Gianni Schicchi.” Myers is very excited to be performing in the CU NOW’s Composer Fellows’ Initiative this summer. Myers is a student of Abigail and Robert Nims. ANNA WHITEWAY—Ginevra Anna Whiteway, a second-year master’s student, is returning for her third production with Eklund Opera, having previously sung Pamina in “The Magic Flute” and the title role in “The Merry Widow.” A native of Wisconsin, Whiteway earned her bachelor’s in voice performance at the University of Wisconsin-Madison. With UW Opera, she sang principal roles in “Ariodante” (Ginevra), “Béatrice et Bénédict” (Héro), “Die Zauberflöte” (Pamina) and “Le Nozze di Figaro” (Susanna). Whiteway also sang with the Central City Opera Company as a studio artist, and she has participated in Martina Arroyo’s Prelude to Performance program in New York City, where she enjoyed performing the role of Lauretta in Puccini’s one-act comedy, “Gianni Schicchi.” Whiteway is a student of Jennifer Bird. PRODUCTION AND ARTISTIC STAFF Bruce Bergner, Set Designer Bruce Bergner has been an award-winning stage designer in professional theater and opera for more than 25 years. With a resume boasting 130 realized designs at reputable companies across the United States, he now is expanding his research into the realm of experience design: the design of live, human
experiences such as those found at theme parks, museums, attractions, monuments, in retail and entertainment establishments and at site-specific performance events. He also recently published a theory book on design— The Poetics of Stage Space: The Theory and Process of Theatrical Scene Design—to strong reviews. Bergner teaches stage design in the Department of Theatre & Dance at CU Boulder. Zachary Carrettin, Guest Conductor Zachary Carrettin performs on baroque and classical period violins and cello and conducts orchestras across the United States, Europe and South America. His research in Italy and Bolivia led to the first performance of Giuseppe Antonio Capuzzi’s ballet music and the first recording of Gustavo Navarre’s “Sinfonía.” He has appeared as concertmaster with acclaimed baroque period instrument orchestras, including American Bach Soloists, Musica Angelica Los Angeles, the U.S. premiere of Vivaldi’s “Motezuma” with Long Beach Opera, and the Grammy-nominated Ars Lyrica recording of Hasse’s “Marc’ Antonio e Cleopatra.” Carrettin holds degrees in violin performance from Rice University Shepherd School of Music, orchestral conducting from University of Illinois at UrbanaChampaign and a professional studies certificate in conducting from the National University of Music in Bucharest, Romania. He has served on the faculty at University of St. Thomas (Violin, Viola and Chamber Orchestra), Sam Houston State University (Director of Orchestral Studies) and the University of Colorado Boulder (Interim Director of Early Music Ensembles). 2017-2018 is Carrettin’s fifth year as artistic director of the Boulder Bach Festival. Christie Conover, Production Assistant Christie Conover wears many hats having returned to her alma mater as Production Assistant for Eklund Opera. Her active singing performance schedule includes appearances this season with the Colorado Symphony, Boulder Chamber Orchestra, Littleton Symphony, Grand Junction Symphony, Billings Symphony, Altius Quartet and Minnesota Opera. With Margot Crowe, her CU Adopt-a-Student sponsor from years past, she co-founded and runs the Fine Tuned Society of Colorado, a house concert series providing performance opportunities to CU Boulder music alumni and area musicians. Conover fondly remembers her many roles with CU Opera and singing in the inaugural CU NOW. Karen T. Federing, Stage Manager Karen Federing is pleased to be returning to CU Boulder for her second opera production. A native New Yorker and recent transplant to Denver, Federing just completed her 15th season as director of production with Central City Opera. Last winter, she debuted as a stage manager with the Denver Center Theatre Company and was part of the stage management team for the 2014 and 2015 Clinton Global Initiative conferences held in Denver. She served as a production manager for New York-based Gotham Chamber Opera’s 2013-2014 Season and Spring 2013 at The Box on the Lower East Side. Federing stage-managed for the Park Avenue Armory’s Tune-In Festival in 2011 and 2012 and was also part of the stage management team for the 2008 Democratic National Convention in Denver. From 1992 to 2004, Federing was a stage manager with New York City Opera and stage-managed over 45 productions, including seven “Live From Lincoln Center” telecasts. Federing has also stagemanaged for many regional opera companies over her more than 20-year career.
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Erin Hodgson, Associate Director Erin Hodgson has appeared with the Minnesota Opera in Turandot and Rusalka. Hodgson graduated with a bachelor’s degree in music from Oberlin Conservatory, studying under Salvatore Champagne. Hodgson is a first-year master’s student at CU Boulder. She premiered with Eklund Opera as the role of Mrs. Lovett in “Sweeney Todd” earlier this semester. This will be her second directing credit with Eklund Opera—her assistant directing premiere with Eklund Opera was “The Merry Widow.” Leigh Holman, Stage Director Leigh Holman balances a teaching and professional stage directing career in the United States and abroad. In recent years, she has made directing debuts at the Pafos Aphrodite Festival in Cyprus, L’Opéra de Montréal and Florida Grand Opera. Recent CU Boulder productions include “Die Fledermaus,” “The Tender Land” and “L’incoronazione di Poppea.” As well suited to new operatic works as she is to traditional works, Holman has produced and directed workshops of operas in association with composers and librettists, including Jake Heggie, Mark Campbell, Mark Adamo, Colm Toibin, Kirke Mechem, Libby Larsen, Lori Laitman, Herschel Garfein, Robert Aldridge, Daniel Kellogg, Alberto Caruso and Dave Mason. As the founder and artistic/general director of CU Boulder’s New Opera Workshop, she continues to passionately promote the creation, collaboration and production of new American works.
ARIODANTE: APRIL 26–29
Eklund Opera include chorus performances in both “Così fan tutte” and “Die Fledermaus,” Ethel Merman/Elsa Maxwell in “Red Hot and Cole” and Sesto from “Giulio Cesare” in the winter scenes program. She is a winner of the Anderson Undergraduate Voice Competition, has competed at NATS at the national level and held the Colburn Fellowship at the prestigious summer program SongFest. Martin is studying voice performance as a student of Abigail Nims.
Ron Mueller, Technical Director Ron Mueller has been with Eklund Opera for 19 seasons. His past Eklund Opera productions include “The Rake’s Progress,” “La Traviata,” “West Side Story” and “Dead Man Walking.” His other professional credits include Skylight Opera, Boulder Ensemble Theatre Company, Crested Butte Music Festival, Colorado Shakespeare Festival and Boulder Dinner Theatre. Jeremy Reger, Chorus Master and Vocal Coach International pianist and educator Jeremy Reger maintains an active performing and coaching career. He has served on the music staff of Virginia Opera, Eugene Opera, Hawaii Opera Theater, Mill City Opera, Minnesota Opera, Skylark Opera and Aspen Opera Theater. He recently joined the CU Boulder faculty as a vocal coach. Previously, he taught at the Music Academy of the West, at Christopher Newport University in Recife, Brazil, and at Indiana University. He has played in the Virginia Symphony, the Williamsburg Symphonia, the Carmel Symphony and the Terre Haute Symphony. Reger earned a doctorate in collaborative piano from the University of Michigan under Martin Katz. Tom Robbins, Costume Designer Tom Robbins has been with Eklund Opera for 27 seasons. His past Eklund Opera credits include “Don Giovanni,” “Anything Goes,” “Susannah,” “Carousel” and “The Rake’s Progress.” His other professional credits include Bonfils Theater, Opera Colorado and Colorado Ballet. Molly Tiede, Lighting Designer Molly Tiede is delighted to be returning to Eklund Opera. Having recently moved from New York City to inspire young designers at Utah Valley University, Tiede continues her freelance career as a designer and associate across the country. Associate credits include “The Heiress” on Broadway, as well as the Signature Theater, Vineyard Theatre, Roundabout Theater Company, Gotham Chamber Opera and LAByrinth Theater Company off-Broadway. Tiede earned a master’s in lighting design at Ohio University and a bachelor’s in theater at McKendree University.
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COLORADO MAHLERFEST XXXI MAY 19, 2018, 7:30 PM MAY 20, 2018, 3:30 PM Macky Auditorium, CU Campus GUSTAV MAHLER – Das Lied von der Erde (The Song of the Earth) JEAN SIBELIUS – Symphony No. 7 in C Major, Op. 105
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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Gregory Silvus Ellen Taxman Ann Yost
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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
Dear Brutus
By J.M. Synge
By J.M. Barrie
March 29 - April 8, 2018 May 24 - June 3, 2018
303-442-1415
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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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A S S I S T E D L I V I N G | M E M O RY C A R E
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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!
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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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