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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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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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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
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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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SWEENEY TODD The Demon Barber of Fleet Street Music and Lyrics by
Stephen Sondheim
SWEENEY TODD: MARCH 16–18
Artistic Team Leigh Holman Caleb Harris Peter Dean Beck Tom Robbins Ron Mueller Jeremy Reger Stephen Bertles Beniah Anderson Tamara Meneghini Sarah Bassinger Christie Conover
Stage Director Guest Conductor Set and Lighting Designer Costume Designer Technical Director Chorus Master Choreographer Fight Choreographer Accent Coach Assistant Director Production Assistant
Cast, in order of appearance ROLE
Anthony Hope Sweeney Todd Beggar Woman Mrs. Lovett Judge Turpin The Beadle Johanna Tobias Ragg Signor Adolfo Pirelli Jonas Fogg Bird Seller Little Girl
FRIDAY/SUNDAY CAST Zachary Bryant Skyler Schlenker Julieta Garcia Erin Hodgson Erik Erlandson Jacob Baker Paige Sentianin Brendan Lynch Bryce Bartu Grant Bowman Emily Skeen Amara Garland
SATURDAY CAST Steven Vinolas Andrew Garland Megan Pryor Katheryne Baker Wei Wu Jacob Baker Rebecca Ramsey Paul Reynerson Alex King Grant Bowman Emily Skeen Amara Garland
THE COMPANY
Karl Allen, Bryce Bartu, Patrick Bessenbacher, Elizabeth Bowersox, Grant Bowman, Berenice Carrera, Michael Crone, Taylor Graham, Dominique Grogan, Wesley Juels, Alex King, Casey Klopp, Katherine Löf, Chance Lytle, Olivia Morton, Helena Regan, Leanne Rubinstein, Emily Skeen, Zachariah Smith, Evan Stark, Danny Thompson
Production will run approximately 2 hours and 30 minutes, including one 15-minute intermission. Special thanks to Harlequin Costume Co. in Winnipeg, Manitoba, for providing Lead Character Costumes. Join us for Twittermission! Tag us in your post or selfie for a chance to wina pair of tickets to any CU Presents performance. facebook.com/cupresents · Twitter: @cupresents C-2
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VIOLIN 1
Lindsie Katz Ben Ehrmantraut Esther Hou Stephanie Yu Paul Kim Lea Mattson
VIOLIN 2
Autumn Pepper Grace Harper Natalie Smith Sophia Thaut Kashmira Tata Kendalia Spencer
VIOLA
Allyson Stibbards Dragana Loncar Sophia Wonneberger Benjamin Barron
CELLO
Elisabeth Murphy Christine Sears Haley Slaugh Eliot Johnson
DOUBLE BASS Eleanor Dunlap Jordan Walters
FLUTE/PICCOLO
TRUMPET
OBOE/ ENGLISH HORN
TROMBONE
Joshua Hall Júlio Zabaleta
Michael Ochoa
CLARINET/ BASS CLARINET Ellen Kennedy Daniel Mills
Brandon Norton Jacob Wallace Megan Dudek Evan Johnson Ben Garcia
PERCUSSION Alberto Ortega Ryan Pride
BASSOON
HARP
HORN
KEYBOARD
Austen Jankowski Megan Hurley
Jenna Allen Barbie Noyes
Production & Technical Staff Jeff Rusnak Margaret Kayes Nora Barpal, Anna Englander, Courtney Williams Cooper Braun-Enos, Ben Smith, Dan Sjaastad Jennifer Melcher Lelah Radostis, Allan Trumpler Jeannete Hickok Tom Robbins Sarah Opstad-Demmon Whitney Wolanin Yvonne Hines Anna Whiteway
MUSIC STAFF
Jeremy Reger Mutsumi Moteki Rebecca Golub, Nathália Kato, Barbie Noyes
MACKY CREW
JP Osnes Richard Barret Trevor Isetts Dan Sjaastad Ben Smith, Kristianna Hartsen Jennifer Melcher, Alex Parks Chris Evans Jaqueline Teiger
Assistant Technical Director Stage Manager Assistant Stage Managers Carpenters Scenic Artist Assistant Scenic Artists Makeup Designer Hand Properties & Wig Designer Hair Assistant Costume Assistant Costume Stitcher Prop Assistant/AD Assistant
SWEENEY TODD: MARCH 16–18
Orchestra
Head Vocal Coach Vocal Coach Rehearsal Pianists Assistant Director of Production Production Manager & Master Electrician Production Manager & and ASM-Sound Sound Engineer Deck Hands Spot Operators Light Board Operator Pit Manager
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SWEENEY TODD: MARCH 16–18
Synopsis ACT ONE
The players announce the telling of a bloody horror story to be played out by actors (themselves) in front of the audience. In Greek chorus style, the players enter throughout to comment on the action or offer more plot line tidbits to the audience. Anthony Hope, a young sailor, and Sweeney Todd arrive in London. Hope’s happiness is in stark contrast to Todd’s grim manner. Todd recounts a tale, describing a barber and his wife who was coveted by another man. Todd shares that the barber was removed from London so the predator could ensnare her. His story ends abruptly as he takes his leave of Hope. Todd finds Mrs. Lovett’s Pie Shop, a rather shabby establishment. She laments her circumstances and proceeds to tell of the sorry fate of Benjamin Barker and his pretty young wife, Lucy. A judge and his Beadle both lusted after the woman. They had her husband arrested, leaving the woman alone with her young daughter, Johanna. After Barker’s departure, they sexually violated Lucy. Todd’s anger at this news reveals to Mrs. Lovett that he is Barker. Todd, learning of his wife’s death and his daughter’s adoption by the Judge, swears to take revenge. As Johanna bemoans her captivity in the Judge’s mansion, she sees Hope on the street and they instantly fall in love. As the Judge and the Beadle approach, Johanna and Hope are forced apart. In the marketplace, Signor Adolfo Pirelli is announced, along with his miracle elixir. Todd intends to steal away Pirelli’s customers by proving him a fraud. Todd challenges him to two contests and triumphs in both. Hope appears at Todd’s door and tells of his encounter with Johanna, unaware she is Todd’s daughter. He asks if he can hide her at Todd’s shop that night and Todd agrees. Pirelli and Tobias Ragg arrive and Pirelli reveals his true identity as a former apprentice to Benjamin Barker. He threatens to blackmail Todd and they struggle, with Todd eventually killing Pirelli. The Judge announces his intention to marry Joanna. Recalling Todd’s marketplace triumph, the Beadle suggests a visit to the barbershop. The Judge takes his advice and, once there, confides in Todd about his forthcoming marriage. Todd prepares to kill the Judge, but is interrupted by Hope’s arrival. The Judge leaves the shop in a fury. Todd is enraged and vows to kill everyone he can in preparation for the Judge’s destruction. Mrs. Lovett decides she will recycle those victims into meat pies. She will have an inexhaustible supply and he will have his revenge.
ACT TWO
Mrs. Lovett’s Pie Shop is now overflowing with customers. Todd’s elaborate new chair has arrived upstairs and they test out their system to indicate a new victim in the bakehouse. Hope searches for Johanna, as the Beggar Woman tries to warn passers-by about the strange new odors from the bakehouse. In the lunatic asylum where the Judge has placed Johanna, she hopes to be freed. Hope and Todd create a plan to get her out. After Hope leaves, Todd writes a letter to the judge, offering a reunion with Johanna at the barbershop that evening. Ragg declares his promise to keep Mrs. Lovett safe, along with his suspicions of Todd. When Mrs. Lovett pulls out Pirelli’s purse, Ragg recognizes it. Mrs. Lovett takes Ragg to the bakehouse, where he is normally forbidden, to learn about making the pies. Once he is distracted, Mrs. Lovett locks him in. She returns upstairs to find the Beadle, who requests to inspect the ovens. She distracts him until Todd arrives. He takes the Beadle to the barbershop for a free shave. In the bakehouse, Ragg begins to suspect that human remains are being used for the pies and is confirmed when the Beadle’s body comes down the chute. Ragg realizes he is locked in and disappears down the cellar. Hope rescues Johanna from the asylum. They arrive at Todd’s shop with Johanna in disguise. She stays behind as Hope plans their escape, but the Beggar Woman appears and Johanna hides. Todd discovers the Beggar Woman in his shop and kills her, sending her to the bakehouse. Just then, the Judge arrives and Todd assures him that Johanna is safely waiting. Todd convinces the Judge to have a shave in preparation for his reunion with the girl. As the Judge finally recognizes Todd as Barker, Todd kills him. Johanna emerges from hiding and narrowly escapes Todd, who doesn’t recognize her because of her disguise. Todd hears Mrs. Lovett’s cries from the bakehouse and arrives to find that the Judge isn’t dead. Todd is devastated when he learns an earth-shattering secret. Todd accuses Mrs. Lovett of deception, while she claims she was protecting him. He feigns forgiveness by dancing with her, but then pushes her into the oven. A shocked Ragg appears, kills Todd and begins to grind more meat. C-4
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Director, Eklund Opera Program
Like a good slasher film? How about a musical, of all things? Stephen Sondheim’s genius opera disguised as a musical was a critical success in March 1979. Writing for The New York Times, Richard Eder noted that “there is more artistic energy, creative personality and plain excitement in ‘Sweeney Todd’ ... than in a dozen average musicals.’’ Audience response was mixed as is often the case when being introduced to something so entirely, obviously and mind-bogglingly new. Almost 40 years since its New York premiere, Sweeney Todd still feels new and remains one of the most popular musicals of all time—performed in both opera houses and musical theatre venues alike. How many of you hid under your mom’s afghan with one eye poking out while watching old movies of Frankenstein, Dracula and the Werewolf? My hand is up! The first R-rated film I ever attended was Halloween (yes, the original). Today, Criminal Minds is one of the most popular, long-running TV shows and Stranger Things and American Horror Story are on the list of the top 10 best binge-worthy streaming shows. Admit it: we like to be scared! We opera audiences are quite used to stabbings and suicides and double-crossings. Musical theatregoers expecting Chicago, however tend to be shocked at their first Sweeney Todd experience. After reading in Sondheim’s book, Finishing the Hat (explaining the concepts and process of writing his lyrics), I learned that he always wanted the chorus in Sweeney Todd to be instrumental in breaking that fourth wall, namely speaking directly to the audience. He didn’t want Sweeney Todd to be a profound statement on life, revenge … or the industrial revolution, for that matter. He just wanted audiences to experience an entertaining night at the theatre and he wanted to tell a really scary story. In fact, his primary musical influence was a horror movie. “When I was 15 years old, I saw a movie called Hangover Square, which featured a piano concerto that Bernard Herrmann had written,” Sondheim says. “It’s a melodrama about a serial killer who writes this piano concerto. It particularly impressed me—but all of Bernard Herrmann’s music particularly impressed me, so actually the score of Sweeney Todd is an homage to him.” I’ve staged the company to act as “actors” greeting the audience at the beginning and throughout—preparing them for the horror story of the Demon Barber, Benjamin Barker, and his evil sidekick, Mrs. Lovett. Actor/singers appear as one of a large troupe of players that take on various characters as the story unfolds. My wish is that you prepare to be entertained, to be spooked, to laugh and to journey with the players—through London and right to Fleet Street.
SWEENEY TODD: MARCH 16–18
From Stage Director Leigh Holman
From Guest Conductor Caleb Harris
Welcome to the Eklund Opera’s production of Sweeney Todd! This musical thriller is probably the closest you will ever come to hearing the “opera” that originally premiered on Broadway. In 1973, Stephen Sondheim attended a performance of Christopher Bond’s play by the same name and immediately began plans to write an opera based on this strangely alluring story. The music came to him almost spontaneously ... all he had to do was to write it down. In our performance, Jonathan Tunick’s original orchestration is bolstered with twice as many string players as used in the original Broadway performances. These additional performers will amplify further the acoustic “operatic” aspect of our performance and serve as a wonderful display of the talent of the CU orchestra. Tunick’s score also features many special effects, which vividly paint the scene or the action on stage. You will hear birds depicted in the woodwinds when a bird seller arrives at the house of the Judge where the beautiful young Johanna resides. A synthesized organ which figures prominently in this score gives a gothic flavor to the music and sets the atmosphere immediately with a non-traditional “Prelude.” Sondheim also wrote the vast majority of the dialogue underscored by music, which gives a sense of continuity and contributes to our anxiety with the uncomfortable subject matter of this story. Woodwind instruments often play in high-registers in dissonant intervals in unison with the organ or strings playing high harmonics creating ghostly effects. The presence of ostinato patterns (repeated motivic materials) and vamping as the story develops on stage creates an air of expectancy and will give you clues about the characters and their motives. I hope that this musical thriller challenges you as it has us. On one hand, it’s a dark story of death, injustice and tragedy. However, lying beneath the surface is a strange sense of purpose, morality and beauty. It is such a pleasure to serve as the guest conductor for this magnificent production and we are glad you’ve chosen to “attend the tale of Sweeney Todd.” | 303-492-8008 | cupresents.org | Get Soci@cupresents |
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SWEENEY TODD: MARCH 16–18
The Company JACOB BAKER—The Beadle This is Jacob Baker’s fifth production with Eklund Opera, including Camille in Die Lustige Witwe, Actor 3 in Red Hot and Cole, Tamino in The Magic Flute and Alfredo in Die Fledermaus. This past summer, Baker was a featured chorus member in Mark Adamo’s opera The Gospel of Mary Magdalene, produced through CU NOW. Baker has previously performed in the chorus of Wisconsin’s Florentine Opera Company (201516 season). He graduated from UW-Milwaukee in 2015, where he received a bachelor’s degree in voice performance. He is currently pursuing a master’s degree in voice performance as a student of Matthew Chellis.
KATHERYNE BAKER—Mrs. Lovett Originally from Kansas City, mezzo soprano Katheryne Baker is in her second year of her masters degree in voice performance at CU Boulder. Baker’s most recent roles have included the Ethel Merman in Eklund Opera’s production of Red Hot and Cole and the title role in Menotti’s The Medium with the Denver Immersive Opera. Baker has been a featured soloist in performances including Duruflè’s Requiem, Stravinsky’s Mass, Beethoven’s Choral Fantasy, CPE Bach's Magnificat and Handel’s Messiah. This spring, she will be a featured soloist for Longmont Symphony's Pops Concert. Baker is a recipient of the Boyce Reid Sher and Barbara Reid Voice Award in honor of Charlotte Orr Reid, and the Barbara M. Doscher Memorial Voice Award. BRYCE BARTU—Signor Adolfo Pirelli This is Bryce Bartu’s fourth production with Eklund Opera. His previous Eklund Opera credits include Danilo in The Merry Widow, First Armored Man in The Magic Flute and numerous characters in CU NOW’s Composer Fellowship Initiative. Other credits include Ralphie Boland in Dogfight, Mal in The Addams Family, George in The Drowsy Chaperone (The STAGE Theater), Pat in 42nd Street (Pinewood Bowl Festival), Enoch in Carousel (Asheville Lyric Opera), Jim Casey in the Chicago premiere of The Grapes of Wrath, Lorenzo in Lucrezia, Alfredo in Die Fledermaus (Northwestern Opera Theater), Bill in A Hand of Bridge, Anthony in Sweeney Todd (Aspen Opera Festival), Carl Lindstrum in O! Pioneers, Tybalt in Roméo et Juliette, Giuseppe in The Light in the Piazza, Simon Stimson in Our Town (Nebraska Opera Theater). Bryce is originally from Grand Island, Nebraska, and is currently pursuing his doctorate as a student of Matthew Chellis. GRANT BOWMAN—Jonas Fogg This is Grant Bowman’s second production with Eklund Opera, where he was last seen as Njegus in The Merry Widow. A freshman, he is currently pursuing a degree in Musical Theatre and studying under Andrew Garland. Some of his previous roles include Cogsworth in Beauty and the Beast, Carmen Ghia in The Producers and Feldzeig in The Drowsy Chaperone; additionally, he is looking forward to appearing in Love’s Labour’s Lost and Cyrano de Bergerac with the Colorado Shakespeare Festival this summer. He is incredibly grateful to the entire cast and creative team for making this show such a great experience, as well as his family and friends for their love and support. ZACHARY BRYANT—Anthony Hope Zachary Bryant is honored to return to Eklund Opera after performing in this summer's CU NOW Composer Fellowship Initiative. A native of Houston, Texas, Bryant has performed with the
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Houston Grand Opera chorus and has appeared with the Houston Gilbert & 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 Westminster Choir College's summer program in Florence, Italy. Equally at home in other disciplines, Bryant 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 is working with the CU Entrepreneurship Center for Music and pursuing his master's degree as a student of Andrew Garland. ERIK ERLANDSON—Judge Turpin Erik Erlandson is a baritone from Minnesota. This is his third performance with Eklund Opera after being featured in The Gospel of Mary Magdalene with CU NOW. He earned a bachelor’s degree at DePauw University and a master’s degree at Louisiana State University. While pursuing his education, he was a part of numerous summer young artist programs, gaining knowledge and experience in both the French and Italian styles of performance. Erlandson has performed a breadth of characters from opera and Broadway repertory, including Papageno, Marullo, Don Giovanni, Claudio, Sykos and the Baker. He was very excited to continue his doctorate in voice performance and pedagogy at CU Boulder this spring. He has been awarded a teaching assistant position and will be working closely with Patrick Mason. JULIETA GARCIA—Beggar Woman Julieta Garcia is currently in the third year of her undergraduate in voice performance at CU Boulder. Her debut in the operatic world was as La Soura Zelatrice in Suor Angelica and the choruses of La Mulata de Cordoba and Le Nozze di Figaro, all produced by the Conservatorio de las Rosas in Morelia, Mexico, where she studied for four years. Previous credits also include her chorus participation in Eklund Opera’s recent production of Die Fledermaus and her role as the Spirit 2 in The Magic Flute. Garcia is a student of Patrick Mason and Jennifer Bird-Arvidsson. ANDREW GARLAND—Sweeney Todd Andrew Garland has performed solo recitals at Carnegie Hall, The Phillips Collection, with the New York Festival of Song and in other cities in North America and Europe. Garland had further performed concerts with the Atlanta Symphony, Houston Symphony, Boston Baroque, Handel and Haydn Society, Orchestre de la Suisse Romande, Lincoln Center, the Kennedy Center and Hill Auditorium. He has performed lead roles at Seattle Opera, Opera Philadelphia, New York City Opera, Minnesota Opera and others. Garland is overjoyed to sing at CU. ERIN HODGSON—Mrs. Lovett 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. She is in her first year as a master’s student at CU Boulder. This is her first production with Eklund Opera.
ALEX KING—Signor Adolfo Pirelli 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’s production of The Merry Widow. King has also served as principal bassist for the Minot Symphony Orchestra and BismarckMandan Symphony Orchestra. King is a student of Matthew Chellis and Paul Erhard. BRENDAN LYNCH—Tobias Ragg Brendan Lynch is thrilled to be making his first appearance with Eklund Opera. He recently appeared in the Theatre Department's productions of Rocky Horror (Riff Raff), Eurydice (Father) and The Adding Machine (Shrudlu). He is honored to be a part of this powerful musical and would like to thank all of his teachers, family and friends for their support in both his engineering and musical theatre pursuits. MEGAN PRYOR—Beggar Woman Megan Pryor is a first-year BMT voice performance student and this is her second Eklund Opera production. She was a principal dancer and Grisette in The Merry Widow and is honored and thrilled to be taking on her first major role with Eklund Opera. Pryor is a student of Matthew Chellis. REBECCA RAMSEY—Johanna Rebecca Ramsey is in her final year of undergraduate studies in voice performance at CU Boulder. Most recently, she appeared as Sylviane in Eklund Opera's production of The Merry Widow and Susanna in scenes from Le Nozze di Figaro in Eklund Opera's winter scenes program. Other credits with Eklund Opera include a Rocky Twin in Red Hot and Cole, Ida in Die Fledermaus, Beth in The Tender Land, Anne in The Merry Wives of Windsor during the 2016 winter scenes program, and Sister Geràld in Dialogues of the Carmelites. Last summer, Ramsey participated in Up North Vocal Institute in Boyne City, Michigan, where she sang the role of Adina (L’Elisir d’Amore) in their scenes program. Ramsey is a student of Abigail Nims. PAUL REYNERSON—Tobias Ragg Paul Reynerson is a junior at CU Boulder pursuing a dual degree in engineering physics and vocal performance. Sweeney Todd is his fourth production with Eklund Opera. Past rolls include Moss Hart in Red Hot and Cole, chorus in La Cenerentola and principal dancer in Die Fledermaus. Reynerson is a student of Matthew Chellis. SKYLER SCHLENKER—Sweeney Todd A former football player from Ithaca College, Skyler Schlenker has performed as Top in The Tender Land, Perchik in Fiddler on the Roof, Frank in Die Fledermaus and Seneca in L’Incoronazione di Poppea at CU Boulder. He also performed Papageno in The Magic Flute as a graduate student. Schlenker was a winner of the Anderson Voice Competition for undergraduate singers at CU Boulder. In 2017, he sang at the Aspen Music Festival as a studio artist and will return in 2018 as a fellow to sing Luther in Les Contes des Hoffman with Maestro Manahan. Last year at Aspen, he covered the Baron in La Traviata and performed in weekly concerts, including Prince Tarquinius in the rape scene from The Rape of Lucretia. Last
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PAIGE SENTIANIN—Johanna This production marks Paige Sentianin’s fourth performance with Eklund Opera. Previous credits include Valencienne in Die Lustige Witwe, Seeker 1 in Mark Adamo’s The Gospel of Mary Magdalene with CU NOW and Papagena in Die Zauberflöte. Other past performances include The Pirates of Penzance (Mabel), L’Elisir d’Amore (Giannetta), Suor Angelica (Suor Dolcina), The Old Maid and the Thief (Miss Pinkerton), Pauline Viardot’s Cendrillon (Maguelonne) and John Cage’s Europera 5 (Singer 1). Last fall, she was also named a finalist in the Ekstrand Graduate Student Competition at CU Boulder. Sentianin is currently in her second year as a master’s candidate in voice performance and pedagogy, studying with Matthew Chellis. EMILY SKEEN—Bird Seller Emily Skeen is in the first year of her performance master’s degree as a student of Jennifer BirdArvidsson. This is her first production with Eklund Opera. Past performances include the Muse of Tragedy in the workshop performance of Lisa Marsh and Barbara Conable's The Amusement, Veronique in Doctor Miracle, Marcellina in Le Nozze di Figaro, Bianca in La Rondine and Seour Mathilde in Dialogues of the Carmelites at Portland State University. As well, Skeen has appeared as Suzanne in Un mari à la porte and Despina in Cosi fan tutte with Student Opera at PSU. STEVEN VINOLAS—Anthony Hope A native of upstate New York, Steven Vinolas is in his second semester as a master’s student in vocal performance and pedagogy. This is his second production with Eklund Opera. This past autumn, Vinolas performed the role of Vicomte Cascada in Die Lustige Witwe. Performances with other companies include Domenico Cimarosa's Il matrimonio segreto (Count Robinson), Carlisle Floyd's Susannah (Reverend Blitch) and The Beggar’s Opera realized by Benjamin Britten (Peachum). Vinolas is a student of Andrew Garland. WEI WU—Judge Turpin Wei Wu received a Performance Certificate in 2010 and a master’s degree in voice performance from the CU Boulder College of Music in 2013. He joined the prestigious Domingo-Cafritz Young Artist Program at the Washington National Opera after graduation. Last season, Wu performed with the Metropolitan Opera in I Puritani, Turandot with the Pittsburgh Opera, and the world premiere of The (R)evolution of Steve Jobs with the Santa Fe Opera. He has performed leading roles at Washington National Opera, Glyndebourne Festival Opera, North Carolina Opera, National Center for the Performing Arts in Beijing and Washington Concert Opera, among others; as well as concerts at Rome Auditorium, Alice Tully Hall at Lincoln Center, The Kennedy Center and Carnegie Hall. He is thrilled to be back at CU singing one of his favorite music theatre roles.
TECHNICAL AND PRODUCTION STAFF Sarah Bassinger, Assistant Director Sarah Bassinger has worked as an educator for the past decade. She earned her bachelor’s degree in Theatre Arts from the University of North Texas, where she gained experience on and offstage as a performer and Assistant Director on multiple shows. After four years teaching at the high school level, she left to pursue a master’s degree at the University of Edinburgh in Theatre and Performance Studies. Upon returning, she was selected as a Fitzpatrick intern and was consequently hired in the Alley Theatre Education Department (Houston, TX). There, she managed a K-8 arts-integration program and piloted a professional development intensive for classroom teachers. She is excited to be a part of this wonderful production! Peter Dean Beck, Set and Lighting Designer Peter Dean Beck has designed scenery and lighting for Eklund Opera for 24 seasons and for more than 300 productions around North America. Among his opera credits are Falstaff, Turandot, Manon, Don Giovanni, Madama Butterfly, Hansel and Gretel, A Midsummer Night’s Dream and Roméo et Juliétte for such companies as Atlanta Opera, Florida Grand Opera, Glimmerglass Opera, Virginia Opera and Chautauqua Opera. He has designed productions of Andrea Chenier, The Italian Girl in Algiers, Macbeth, Elektra and Tristan and Isolde for Hawaii Opera Theatre, where he has been principal designer for 31 seasons. In Asia, he designed a double bill of The Nightingale and Cavalleria Rusticana for Sakai City Opera in Japan and lit Cav/Pag in Macau and Don Carlo in Hong Kong. His musical theater credits include Fiddler on the Roof, The Sound of Music, The Music Man, Les Misérables, The Wizard of Oz and Into the Woods for Skylight Music Theatre. His work for dance includes The Indigo Girls Project for Atlanta Ballet and The Nutcracker for Ballet Hawaii. 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 in Boulder, Denver, Minnesota and Montana this season. 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 music alumni and area musicians. Conover (then Hageman) fondly remembers her many roles with CU Opera and singing in the inaugural CU NOW. Caleb Harris, Music Director/Conductor Caleb Harris enjoys an active career as a pianist, chamber musician, conductor, and vocal and opera coach. He is equally at home at the keyboard and on the podium. He has served as a guest conductor with many orchestras, including the Frankfurt Symphony, Dubrovnik Symphony and Utah Symphony. In the summer of 2017, Harris conducted Donizetti’s Don Pasquale at the Brevard Music Center. Recent concerto performances include Beethoven’s First Piano Concerto and Triple Concerto, Brahms’ Second Piano Concerto and Rachmaninoff’s “Rhapsody on a Theme of Paganini.” Harris has recorded professionally across a wide variety of genres for Summit Records, Navona Records, Potenza Music and Acis Productions. Currently an Adjunct Associate Professor at Vanderbilt, Harris formerly held positions at the University of Northern Colorado, the University of Utah and Utah Symphony/Utah Opera. A graduate of the Eastman School of Music, he has received many honors, including a Presser Foundation Scholarship.
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 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, she 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. Margaret Kayes, Stage Manager Margaret Kayes is excited to return to the Eklund Opera Program after stage managing last season’s The Magic Flute and Red Hot and Cole. Her other credits include L’Incoronazione di Poppea and The Turn of the Screw (New England Conservatory); La Grande Duchesse de Gérolstein, Tancredi, The Bartered Bride, The Nose and Der Freischütz (Opera Boston); Peter Pan and Tinkerbell: A Pirate’s Christmas (Lythgoe Family Panto); Billy Elliot (San Diego Musical Theatre); Around the World in 80 Days, Ruthless! The Musical and Souvenir (New Harmony Theatre); The Mole Hill Stories (First Stage Children’s Theatre); The Wild Party, Boeing Boeing, The Valley of the Heart, The 39 Steps, RFK and The Addams Family (San Jose Stage Company); Sweeney Todd and One Man, Two Guvnors (Lyric Stage Company of Boston); Twelfth Night, Coriolanus and Othello (Commonwealth Shakespeare Company); and The Secret Garden, The Unbleached American, Something’s Afoot, The Marvelous Wonderettes, These Shining Lives, Thoroughly Modern Millie and The Full Monty (Stoneham Theatre).
SWEENEY TODD: MARCH 16–18
summer, he also workshopped the role of Yeshua in The Gospel of Mary Magdalene with Mark Adamo. Schlenker spent the summers of 2015 and 2016 with “Si Parla, Si Canta,” directed by Benton Hess in Urbania, Italy, where he worked on Italian and Italian arias. Schlenker is a master’s candidate in voice performance studying with Andrew Garland.
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 faculty of CU Boulder as a vocal coach. Prior to that position, 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.
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Ariodante April 26–29 · Music Theatre
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James and Associates is proud to co-sponsor this performance of RUBBERBANDance and to support the Artist Series.
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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
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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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