Cinderella May 17–19, 2019
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Sat May 18, 2019 at 2:00 and 7:30pm
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Spotlight: College of Music Groundbreaking Page 06
Season Calendar Page 08
Spotlight: Dance on the Boulder Stage Page 12
Spotlight: Curating the Artist Series Page 22
Donor Listings Page 30
Personnel and Policies Page 34
Editor Becca Vaclavik Designer Sabrina Green CU Presents is the home of performing arts on the beautiful University of Colorado Boulder campus. With hundreds of concerts, plays, recitals and more on our stages each year, there’s something for everyone to enjoy. @cupresents cupresents.org · 303-492-8008
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You have to be here. CU Presents hosts more than 500 performing arts events on the University of Colorado Boulder campus each year. For more than 80 years, the Artist Series has brought leading classical performers, renowned jazz and world music groups and acclaimed dance ensembles to CU Boulder’s historic Macky Auditorium. CU Presents also hosts the Eklund Opera Program, chamber concerts with the Grammy-winning Takács Quartet and the beloved annual Holiday Festival. The College of Music offers almost 400 recitals and concerts by faculty, students and guest artists. Each summer, the Colorado Shakespeare Festival stages professional plays in the Mary Rippon Outdoor Theatre and in the indoor University Theatre. Throughout the year, the Department of Theatre & Dance presents almost 100 faculty, student and guest artist performances. Find your next performance at cupresents.org
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College of Music breaks ground on new home By Jessie Bauters
On a sunny Monday morning, Feb. 4, 2019, College of Music Dean Robert Shay, CU Boulder Chancellor Philip DiStefano and others broke ground on a 64,000-square-foot expansion of the Imig Music Building, the longtime home for music at the University of Colorado Boulder. The expansion, set to open in time for the College of Music Centennial and the Fall 2020 semester, includes a state-ofthe-art recording suite, innovative convertible rehearsal/performance spaces and dedicated suites for the Entrepreneurship Center for Music and the Musicians’ Wellness Program. “This will make it possible for us to continue to inspire the highest levels of artistry and discovery,” Shay said at the ceremony. 06
SPOTLIGHT
The groundbreaking ceremony featured speeches by College of Music Student Government President Anoushka Divekar, Professor of Piano and Helen and Peter Weil Faculty Fellow David Korevaar, Chancellor DiStefano, Music Advisory Board Chair Mikhy Ritter and music+ campaign chair Becky Roser. “With this project, we recognize the importance of the College of Music as a gateway to the Boulder campus,” said Roser. The CU Board of Regents approved $57 million in spending authority for construction of the addition last summer. Work began in January to demolish the southern portion of the Imig building to make way for the new three-story addition along Wardenburg Drive.
The College of Music, through its music+ campaign, continues to work with prospective benefactors and industry partners who are interested in supporting the worldclass people and programs who will benefit from the new addition. Such support is critical to sustaining a top music program that drives innovation and produces the next generation of musicians who will impact humanity through their art. For more information about the Imig Music Building expansion, visit colorado.edu/music/expansion.
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Batsheva Dance Company
Dorrance Dance
“Venezuela” by Ohad Naharin Wednesday, March 20, 7:30 p.m. Starting at $34
Saturday, April 6, 7:30 p.m. Starting at $20
Israel’s foremost contemporary dance company, revered worldwide for its cutting-edge work, visits Boulder for the first time. Artistic Director Ohad Naharin’s transfixing piece “Venezuela” brings together rap, Gregorian chant, Argentine tango and the choreographer’s signature Gaga language research.
Hailed as “entirely glorious” by The New York Times, Dorrance presents tap dance like you’ve never seen. In Artistic Director Michelle Dorrance’s capable hands, the company pushes the boundaries of this uniquely American art form.
Stay tuned!
The 2019-20 Artist Series features jazz icons, acrobatics and aerialists, a fiddling family and much, much more. Events will be announced on April 1, 2019. 08
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Eklund Opera Program
CU Boulder’s Grammy Awardwinning quartet-in-residence is irresistible. April 28 and 29 Starting at $36
Eugene Onegin
An opera by Pyotr Ilyich Tchaikovsky March 15-17, Macky Auditorium Starting at $15
The Turn of the Screw
An opera by Benjamin Britten April 25-28, Music Theatre Starting at $20
More events
CU Music
Faculty Tuesdays
Renowned faculty musicians perform in a weekly concert series featuring guest artists, students and professional colleagues. Tuesdays at 7:30 p.m., August-March
Student ensembles
The University Symphony Orchestra, Thompson Jazz Studies Program, choirs and other student ensembles thrill audiences with timeless classics and groundbreaking new works. September-April
Student Recitals, guest performances and more The hard work of our student artists, the intriguing findings of music scholars and countless more events await! September-April Most concerts are free and open to the public.
CU Theatre & Dance Falstaff in Love
A new play by Scott Kaiser March 14-17, starting at $16
Fourth Annual New Play Festival
April 10-14, free and open to the public
The Current
Dance works by faculty and guest artists April 12-20, starting at $18
FRESH: Spring 2019
A CU dance concert April 26-27, free and open to the public 09
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See Batsheva Dance Company in Macky Auditorium on March 20. Tickets start at $34. See Dorrance Dance in Macky Auditorium on April 6. Tickets start at $20. The Current runs April 12-20 in the University Theatre. Tickets start at $18.
Big name dance companies transform their art on the Boulder stage By Corinne Baud
This spring, the Artist Series hosts two world-class dance ensembles, Batsheva Dance Company and Dorrance Dance, in Macky Auditorium. Both are known for pushing the boundaries of 21stcentury dance—and their global reputations make them a huge “get” for the Boulder community, says CU Theatre & Dance Department Chair and Artist Series Board Member Erika Randall.
developed by Batsheva house choreographer and former artistic director Ohad Naharin. Coincidentally, CU dance students learn Gaga in class today.
“People kept saying, ‘Oh, you got the apprentices from the Young Ensemble?’ No. Batsheva. The full company is coming to Boulder,” she recalls.
“It’s a wonderful opportunity for our students. We received a Roser Visiting Artist Grant to fund two weeks of master classes prior to the concert,” adds Randall. “Being able to have deep investigatory time in this immersive and demanding technique—while also witnessing the company onstage— is a rare gift.”
Known to be at the forefront of modern dance in the 21st century, Batsheva Dance Company uses Gaga, a movement language
Dorrance Dance, too, has redefined modern dance. Aiming to honor tap in a new and dynamic
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SPOTLIGHT
“Once Batsheva found out how deeply Gaga was incorporated into our dance department, they were blown away,” says CU Presents Executive Director Joan McLean Braun.
way, Dorrance revamps the rhythmic and technical traditions of the art form that have enticed audiences for generations. “They’ve evolved tap into a contemporary context, looking at it as a musical expression and percussive nature of feet,” says McLean Braun. “The buzz around the company is remarkable. They were just in Vail a few summers ago and audiences were completely impressed.” Both dance companies complement the other genres and art forms of the Artist Series this season. “The Artist Series really looks to bring experiences to Boulder that will be both entertaining and transformative,” says Randall. “And these two companies definitely deliver that because of how they move people into feeling.”
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The Turn of the Screw
An opera by Benjamin Britten April 25-28, 2019
The Turn of the Screw: April 25-28
The Turn of the Screw An opera by Benjamin Britten April 25-28, 2019
By arrangement with Boosey & Hawkes, Inc., publisher and copyright owner. This production will run approximately 2 hours with one 15-minute intermission.
Special thanks to
• Norcostco, for costumes • Altius Quartet, for playing in the orchestra
Content note
This production explores themes of physical and sexual abuse.
Cast Thursday/Saturday
Friday/Sunday
Role
Name
Name
The Governess
Elza Picasso-Hobin
Sabina Balsamo
Miles
Megan Pryor
Tyler Vinnola
Flora
Sophia Zervas
Mara Riley
Mrs. Grose
Natalie Simpson
Rebecca Myers
Miss Jessel
Emily Skeen
Erin Hodgson
The Prologue/Quint
David Starry
Alex King
Orchestra Violin Andrew Giordano Joshua Ulrich Viola Andrew Krimm Cello Robert Erhard Double bass Andrew Sproule
C-2
Flute Colleen White
Horn Katherine Smith
Oboe Heather Macdonald
Percussion Christopher Martin
Clarinet David Leech
Piano Nathália Kato
Bassoon Kaori Uno-Jack
Harp Janet Harriman
· cupresents.org · 303-492-8008
Stage Director Leigh Holman
Projection Designers Iain Court, Teri Wagner
Technical Director Ron Mueller
Music Director and Conductor Jeremy Reger
Assistant Projection Designer Erin Carlson
Assistant Director Dominic Aragon
Scenic Designer Bruce Bergner
Lighting Designer Mark J. Gabriel DeBell
Opera TA Erin Hodgson
Assistant Scenic Designer Veronica Rodriguez
Costume Designer Tom Robbins
Production Assistant Christie Conover
The Turn of the Screw: April 25-28
Production staff
Production and technical staff Assistant Technical Director Jeff Rusnak
Makeup Designer Jeanette Hickok
Vocal Coach Mutsumi Moteki
Production Stage Manager Joel Atella
Hand Properties & Wig Designer Tom Robbins
Assistant Stage Managers Alaina Brown Brandon Tyler Padgett
Hair Stylist Chad Boltz
Rehearsal Pianists Sam Bachelder, Nathália Kato, Barbie Noyes
Carpenters Andrew Koenig, Ben Smith, Dan Sjaastad, Justin Tamplin Scenic Artist Jennifer Melcher Assistant Scenic Artist Lelah Radostis
Costume Stitcher Alison Milan Costume Assistant Yvonne Hines MUSIC STAFF Head Vocal Coach/Chorus Master Jeremy Reger
STAGE CREW Light Board Operator Reed Otto Projections Operator Andrew Taylor Deck Crew Ben Smith Kristianne Ibsen Supertitles Creator/Operator Barbie Noyes
Synopsis
ACT I Prologue: A narrator introduces the story of young woman who is offered a position as the Governess of two children: a niece and nephew of a handsome, bold businessman working in London. The Governess is tasked with “doing everything” for the children and is expressly told never to write or to worry their uncle. Despite some concerns, she accepts the position. The coach ride: On her coach ride to their country home, Bly House, the Governess ponders what awaits her. In a moment of foreboding, she asks herself, “What could go wrong?”
Bly House: Two beautiful and charming children—Miles and Flora—are just as excited and anxious to meet their new Governess as she is to meet them. Once she arrives, she is welcomed by Mrs. Grose, the housekeeper, who shares that the children are good and bright but a bit too lively for an old housekeeper to care for alone. Later, a letter arrives and informs the Governess of Miles’ expulsion from school because of “an injury to his friends…” Initially, both Mrs. Grose and the Governess find the news shocking, as they both believe Miles to be generally gentle and even angelic. They decide the letter must be a “wicked lie,” and decide not to discuss it further or contact the children’s uncle. As summer progresses, the Governess becomes more comfortable in her position. She walks through the grounds, lamenting that her employer can’t see how well she does his bidding. When she reaches a tower on the grounds, she sees a stranger in the window. The unknown man vanishes before the Governess can identify him. · cupresents.org · 303-492-8008
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The Turn of the Screw: April 25-28
A few days later, while the children play together, the Governess sees the same mysterious man peering into a window at Bly. Mrs. Grose finds the Governess in her shocked state. When the Governess shares what she has seen, Mrs. Grose reveals that the unknown man resembles the old valet of the estate, a man named Peter Quint. Mrs. Grose confesses she always feared Quint and felt he was too “free” with both the children and the previous governess, Miss Jessel. Finally, she shares that both Peter Quint and Miss Jessel have died. Upon hearing Quint’s history, the Governess swears to protect the children from his ghost. Strange things begin to happen around the house. During a Latin lesson, Miles sings an unnerving song which the Governess does not recall teaching him. While Flora plays with her doll near a lake on the Bly estate, the Governess sees a woman watching them across the lake who she believes is the deceased Miss Jessel. When both Quint and Jessel lure the children out of bed one night, the Governess interrupts their connection to the children and confronts Miles. Miles cries, “You see! I am bad! I am bad, aren’t I?” ACT II Quint and Jessel discuss their intentions regarding the children. The Governess, in distress, questions what to do next, as she fears she is lost and surrounded by evil. A church: As Mrs. Grose, the Governess and the children walk to church, the two women debate whether or not to write to the uncle. The Governess isn’t sure what she’d say—she fears she or the children might be going mad. Mrs. Grose urges her not to worry. Out of earshot of the others, Miles reveals to the Governess his knowledge of “the others” and insinuates she do something about it. Bly House: The Governess discovers Miss Jessel seated at her schoolroom desk. After commanding Miss Jessel to leave, the Governess finally writes to her employer and urges him for help. The Governess tells Miles she has written to his uncle for help and pleads with the boy to open up to her about both his past and present. When Quint overhears, he coerces Miles to steal the Governess’ letter. While Miles plays piano in the schoolroom, Flora tricks Mrs. Grose into falling asleep so she can slip away. The Governess gathers Mrs. Grose to rescue Flora from Miss Jessel, leaving Miles indoors. She fears that he is already lost to Quint. The women find Flora by the lake. Miss Jessel appears to the Governess but not to Mrs. Grose. When Flora, too, aggressively denies seeing Miss Jessel, the Governess is left broken and defeated. Back in the house, Mrs. Grose informs the Governess that she will take Flora away from Bly after Flora confessed unspeakable horrors in her dreams. The Governess then confronts Miles about her missing letter, but it is too late. Miles dies in her arms after speaking Peter Quint’s name.
Notes from Leigh Holman Stage director
Novelist Henry James is not new to opera at CU. Writer Colm Tóibín spent a CU NOW (CU New Opera Workshop) season with us as we workshopped his multi-award winning novel turned libretto, The Master (with composer Alberto Caruso) in summer of 2014. Since reading Tóibín’s novel about the inner life of author Henry James and workshopping The Master (the opera) with director Ron Daniels, I have longed to bring James’ The Turn of the Screw back to our stage. Not the first production presented here (last produced in 2004 by my esteemed predecessor Bill Gustafson), this opera is a haunting, brilliantly composed masterpiece perfectly fitting for our students’ voices and our intimate Music Theatre venue. This year, we bring a new production inspired by German expressionism—and created by artistic team scenic designer Bruce Bergner, projection designers Iain Court and Teri Wagner, and lighting designer Mark Gabriel DeBell—to Eklund Opera. I have long wanted to direct this piece and with projected images to further highlight the Gothic feel of Bly House, the supernatural and the haunting whole tone music of Britten. This is truly a dream come true, and I am grateful to conductor Jeremy Reger for proposing the idea last year. When directing The Turn of the Screw, two questions always emerge: Is the Governess insane and imagining the supernatural goings on at Bly House—or are we truly haunted by former governess Miss Jessel and valet Peter Quint? Throughout our process of bringing this piece to the stage, we have found our way into this chilling story and together with our student actors, we have discovered answers through intense work in rehearsals, creating backstories for these characters and making artistic choices based on the music and words that Benjamin Britten, Myfanwy Piper and the novelist himself, Henry James, offer us. Why is it that we as audiences of TV, movies, plays and operas want to be scared stiff? Why do these haunting psychological journeys pique our interest? The mystery of the supernatural and the human psyche seem to be the focus of much of our art throughout time—the mind loves the puzzle, the body loves the feel of the heartbeat and the spirit longs for the unexplainable. Enjoy your journey. C-4
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Music director
Benjamin Britten was my gateway drug into the opera world. I remember watching the giant crowd scene from Peter Grimes for the first time when I was but seventeen. The entire chorus hunts Peter down and screams his name, “Grimes! Peter Grimes!” It is such an invigorating and exciting moment in music, and I knew I had to be part of whatever I was witnessing. The Turn of the Screw is one of the most chilling and disturbing operas in the repertoire. We start with Henry James’ ambiguous and horror-filled short story of the same name. The librettist, Myfanwy Piper, and Britten transformed the tale into a musical composition that leaves the audience with few answers. Are the ghosts real? Is the Governess mad? Truth is concealed, and innocence is lost. The only line not inspired by Henry James, but rather by poet W.B. Yeats, is the Act II opening: “The ceremony of innocence is drowned.” In our modern society, with truth always being questioned, what is the importance of innocence? Britten uses every note in this score to take the audience on a rollercoaster ride of ambiguity and terror. Early 20th century extended compositional techniques can often be difficult for an audience to take, but with Britten’s master hand, everything serves the dramatic action. After the opening prelude, the orchestra enters with a 12-tone theme that is manipulated in between each of the 16 scenes by a set of variations that create the atmosphere for the scene to come. Each dramatic scene also features a different instrument in the ensemble. And what an orchestra score! This is an exceptional tour de force for the instrumentalists. With only 13 in the orchestra, every player needs a soloistic approach to tell this fascinating story. Within this tightly controlled compositional architecture, Britten weaves his fascinating characters in and out of the music, never clarifying who is the actual protagonist and antagonist. Is the Governess really protecting the children, or is she leading the descent into madness? How can the ghosts be evil when their music is often times the most lyrical, the most beautiful? Britten invites us to board this unstable ride and enjoy the ever-shifting perspectives of this tragic and tormented tale. In our contemporary society where we are so often asked to choose sides, isn’t it exciting, even a little bit scary, to live in the gray area of mystery and murkiness for a few hours? Whether this is your first experience with opera or you have been bitten by the Britten bug, I hope that our love of this piece is as infectious and eye opening as my first experience with his music.
The company Sabina Balsamo—The Governess Sabina Balsamo is a first-year master’s student studying vocal performance at The University of Colorado Boulder. Balsamo grew up in Jeannette, Pennsylvania, and began singing with local groups in Pittsburgh such as the Pittsburgh Savoyards and Pittsburgh Festival Opera where she performed Mabel in The Pirates of Penzance, Elsie in The Yeomen of The Guard, Rose in Ruddigore, Fredrika in A Little Night Music and Mickey in Damn Yankees. As an undergraduate at Baldwin Wallace University, she sang Blanche in Dialogues of the Carmelites, Polly in The Threepenny Opera, Pitti-Sing in The Mikado, and has participated in The Bach Choir. She has also premiered the role of Anne in Verlorene Heimat and has been involved in the workshop for The House of Bernarda Alba, which will premiere next year with the Cleveland Opera Theater. Last semester, Balsamo performed the role of Maria in West Side Story and now she is thrilled to be a part of The Turn of the Screw with the Eklund Opera. Balsamo is a student of John Seesholtz. Erin Hodgson—Miss Jessel 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 second-year master’s student at CU Boulder. She premiered with Eklund Opera as the role of Mrs. Lovett in Sweeney Todd in spring of 2018. Hodgson has three directing credits with Eklund Opera—her
assistant directing premiere with Eklund Opera was The Merry Widow, she was the associate director of Ariodante, as well as the assistant director of West Side Story. Hodgson is a student of Jennifer Bird-Arvidsson and Matthew Chellis. Alex King—The Prologue/Quint Alex King 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 had the opportunity to perform in productions of Carmen, The Magic Flute, The Gospel of Mary Magdalene, The Merry Widow, Sweeney Todd, and most recently, Eklund Opera’s production of Ariodante. King has also served as principal bassist for the Minot Symphony Orchestra and BismarckMandan Symphony Orchestra. Originally from the Northwoods of Wisconsin, he has a passion for the outdoors, and in his free time he enjoys hiking and fishing. King also has a passion for teaching voice and is a studio teacher at the Lesson Studio in Boulder. He will be continuing his education by pursuing a DMA in vocal performance and pedagogy starting in fall 2019. King is a student of Matthew Chellis. Rebecca Myers—Mrs. Grose A second-year master’s student at University of Colorado Boulder, Rebecca Myers earned her bachelor’s degree from Eastern Michigan University. Myers debuted with Eklund Opera last April as the title role in Handel’s Ariodante, and had the
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The Turn of the Screw: April 25-28
Notes from Jeremy Reger
The Turn of the Screw: April 25-28
pleasure of participating in the Composer’s Fellowship Initiative of CU NOW last May. Other role credits include: Cherubino (Le Nozze di Figaro), Prince Orlofsky (Die Fledermaus) and Zita (Gianni Schicchi). Most recently, Myers performed as Olga in Eklund Opera’s production of Eugene Onegin. Myers is very excited to be part of this ghost story as Mrs. Grose. Myers is a student of Abigail Nims. Elza Picasso—The Governess Elza Picasso, a Colorado native, is a first-year master’s student studying with Abigail Nims. Picasso graduated from the Eastman School of Music and the University of Rochester with a dual degree in vocal performance and ecology and evolutionary biology. Through Eastman Opera she performed the roles of Esmeralda (Bartered Bride), Geraldine (A Hand of Bridge), Clara (Signor Deluso) and Sara Jane Moore (Assassins). The Governess is Picasso’s first role with Eklund Opera and is thrilled to be a part of this story. Megan Pryor—Miles Megan Pryor is currently a sophomore from Highlands Ranch, Colorado. She is studying vocal performance in musical theatre and is thrilled to have the opportunity to work on her first real operatic role! Past roles include Anybodys in West Side Story, the Beggar Woman in Sweeney Todd and JouJou the grisette in The Merry Widow. She had her first professional role at 15 as the second sprite in Opera Colorado’s Die Zauberflöte. She is a student of Matthew Chellis. Mara Riley—Flora Mara Riley is pursuing a double BM in flute and vocal performance, in the respective studios of Christina Jennings and Jennifer Bird-Arvidsson. She has performed with the CU Wind Symphony, Symphony Orchestra, Undergraduate Woodwind Quintet and University Singers. This is her second role with the Eklund Opera Program; she played Clarice/A Girl (singing “Somewhere”) in West Side Story. She was named winner of the Undergraduate Vocal Scholarship Competition in both 2018 and 2019 and winner of the Young Musicians Foundation of Colorado competition in 2019. This summer she will attend SongFest at the Colburn School as part of the Young Artist Program. Natalie Simpson—Mrs. Grose First-year master’s student Natalie Simpson holds a bachelor’s degree in cello performance from Adelphi University. Having returned to her hometown to continue her musical education in voice, she is delighted to be studying with John Seesholtz at CU Boulder. Roles performed include Madame Larina in Eklund Opera’s recent Eugene Onegin, the title role in Handel’s Xerxes,
Marcellina in Le nozze di Figaro and Alma March (cover) in Little Women. Last fall she appeared in Eklund Opera’s Scenes showcase, in which she also enjoyed her directorial debut with a scene from Rossini’s La Cenerentola. Emily Skeen—Miss Jessel Emily Skeen is a native of the Pacific Northwest and a secondyear master’s student in vocal performance. She holds a Bachelor of Music in vocal performance from Portland State University, and has received awards from such organizations as the Metropolitan National Council Auditions and the Viola Vestal Coulter Foundation. This is Skeen’s second role with Eklund Opera, having played The Bird Seller in Sweeney Todd last year. Other highlights include: Despina (Cosi Fan Tutte), Marcellina (Le Nozze di Figaro), Suzanne (Un Mari a la Porte), Veronique (Dr. Miracle), Soeur Mathilde (Dialogues des Carmelites), and Bianca (La Rondine). Skeen is a student of Jennifer Bird-Arvidsson. David Starry—The Prologue/Quint David Starry is a first-year master’s student from Milwaukee, Wisconsin. His first appearance at CU was as Arab in West Side Story. Other roles include Tamino in Die Zauberflöte and Hoffmann in The Tales of Hoffmann. Additionally, he is a member of CU’s outreach ensemble, Eklund Opera Theater Singers. He is a student of Matthew Chellis. Tyler Vinnola—Miles Tyler Vinnola is a sophomore at the University of Colorado Boulder pursuing a BM in vocal performance and a BME, studying with Professor Matthew Chellis and John Seesholtz. Vinnola has been performing consistently for a number of years including appearing with Central City Opera in shows such as Puccini’s Gianni Schicchi and Verdi’s Tosca. At CU he has been involved in the Henry Purcell Concert, Songs of East Asia Concert and Eugene Onegin. He is very grateful for this chance to perform in his second CU Boulder production and is looking forward to continuing to do so in the future. Sophia Zervas—Flora Sophia Zervas is a senior double majoring in voice and piano performance. The Turn of the Screw is her fourth production with Eklund Opera. She recently appeared at Cupid in Ariodante, First Boy in Die Zauberflöte and in the choruses of West Side Story and Die Fledermaus. Zervas has a special interest in vocal coaching as well as in early and new music. She is a student of Abigail Nims and David Korevaar.
Technical and production staff Dominic Aragon—Assistant Director A native of Wichita, Kansas, Dominic Aragon is a first-year artist diploma student. This is his first assistant directing experience with the Eklund Opera Program. Onegin (Eugene Onegin), Bernardo (West Side Story) CU Boulder, Yamadori (Madama Butterfly) Opera Fort Collins, Sarastro (Die Zauberflöte) Colorado State University, Ariodate (Serse) CSU, Fredrik (A Little Night Music) CSU, Falke (Die Fledermaus) CSU, Escamillo (The Tragedy of Carmen) Baldwin Wallace University, Tio (La Vida Breve) Ohio Light Opera, Nardo (La finta giardiniera) BWU. First Prize, NATS CO/WY Regional Competition, Graduate Division 2017.
Atella graduated with distinction from the Eastman School of Music with a degree in voice performance. Since 2008 he has maintained a freelance career as a stage manager, assistant director and tour manager. Highlights include tour managing for Itzhak Perlman and his In the Fiddler’s House Tour, two seasons as the resident assistant director for San Diego Opera and working as stage manager for Yuletide Celebration with the Indianapolis Symphony. Other companies include Santa Fe Opera, Opera Colorado, Chautauqua Opera, Opera Omaha, Opera Southwest and Syracuse Opera. A 2005 Presidential Scholar in the Arts, Atella is a passionate advocate of the power of music, live theatre and opera.
Joel Atella—Production Stage Manager Joel Atella is a native of Fort Collins and is thrilled to be working his first season with the Eklund Opera Program.
Bruce Bergner—Set Designer Bruce Bergner has been an award-winning stage designer in professional theatre and opera for more than 25 years.
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Chad Boltz—Head Hair Stylist Chad Boltz is a Denver-based hair stylist and award-winning National Educator for John Paul Mitchell Systems. He holds a degree in vocal performance from the College of Music and credits his ease on the hair stage to the lessons he learned at CU. Boltz is thrilled to work with Tom, Leigh and the cast and crew of this production. Christie Conover—Production Assistant Christie Conover wears many hats, having returned to her alma mater as production assistant for Eklund Opera. Her active solo performance schedule includes appearances this season with the Colorado Symphony, Colorado Springs Philharmonic, Opera Colorado, Longmont Symphony and Opera Steamboat, among others. 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. Iain Court—Projection Designs Iain Court has lit works in medieval churches, caves, circus tents, on riverbanks and in haunted houses, as well as many theatres. His lighting in dance and other genres has toured Australia, Asia, Europe and North America. He is particularly interested in collaborative new media performance, exploring these areas with Igneous and other companies. He is also a director and performer working with devised performance and musicals. Court has a passion for mentoring new artists. He is currently the Director of Dance Production for the CU Department of Theatre & Dance.
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. Ron Mueller—Technical Director Ron Mueller has been with Eklund Opera for 20 seasons. His past Eklund Opera productions include The Rake’s Progress, La Traviata, Sweeney Todd and Dead Man Walking. His other professional credits include Skylight Opera, Boulder Ensemble Theatre Company, Crested Butte Music Festival, Colorado Shakespeare Festival and Boulder Dinner Theatre. Jeremy Reger—Music Director 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 29 seasons. His past Eklund Opera credits include Sweeney Todd, Don Giovanni, Anything Goes, Susannah, Carousel and The Rake’s Progress. His other professional credits include Bonfils Theater, Opera Colorado and Colorado Ballet. Teri Wagner—Projection Designs Teri is a multi-disciplinary artist and educator. Her work has been shown and she has taught at the university level in the United States, Europe and Australia. She has collaborated with Iain Court and others on many performance design projects, most recently on the CU production of HAIR. She is currently faculty and program coordinator of the Experience Design MFA at CU Boulder.
Mark J. Gabriel DeBell—Lighting Designer Mark J. Gabriel DeBell is a north Denver native and holds a BA from Loretto Heights College. He was a member of the Tony Award-winning Denver Center Theatre Company for 20 years as a stagehand. As a lighting designer, his credits include productions for Opera Colorado, Eklund Opera, Augustina Arts, Swallow Hill Music and Hawaii Performing Arts Company. DeBell joined the SMG Theatrical Services team in July of 2013 as a production manager at the Denver Performing Arts Complex and has advanced over 285 shows in that time. Between his work with the Denver Center Theatre Company, production involvement in the complex with various companies and now with SMG, Mark has worked in the DPAC venues for 35 years. 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 West Side Story, Eugene Onegin, Sweeney Todd and Ariodante. As wellsuited to new operatic works as she is to traditional works, Holman has produced and directed workshops of operas in association with composers and librettists, including Jake Heggie, Gene Scheer, Mark Campbell, Mark Adamo, Colm Toibin, Kirke Mechem, Libby Larsen, Lori Laitman, Herschel Garfein, Robert Aldridge, Daniel Kellogg, Alberto Caruso and
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The Turn of the Screw: April 25-28
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.
2019-20 season now on sale at cupresents.org
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How to plan a knockout Artist Series in Macky Auditorium By Becca Vaclavik
Joan McLean Braun has served as executive director for CU Presents since 2001—taking over the helm of the Artist Series when CU Presents was still CU Concerts. Under her artistic vision, audiences in Macky Auditorium have experienced groundbreaking performances from Bobby McFerrin, Martha Graham Dance Company, Yo-Yo Ma and dozens of other award-winning icons across genres.
performance Boulder residents might see onstage.
But the process of curating a complete Artist Series lineup begins long before patrons step into the theatre. Season planning is full of as many highs, lows and emotional moments as any live
She starts with a few anchors, or “must-have” artists, whom she’s willing to shape the rest of the season around. Sometimes, the anchors have been on the short list for years.
22
SPOTLIGHT
It all begins with a list of names. Early on, McLean Braun starts will a short list of artists she’s hoping to bring to Macky. “Short” is relative, of course, because the list typically has about three times as many names on it as the Artist Series has dates to fill. This is her favorite part.
“Yo-Yo Ma had been on our offer list for at least a decade. We just kept saying, ‘We’re here!’ and waiting,” she shares with a laugh and a big wave of her hands. Then, after attending conferences with other area presenters and speaking with agents across the globe, she begins to fill in the holes between her anchors. McLean Braun collaborates with CU faculty and presenters from Fort Collins and Denver to put together a lineup that is both efficient for curators and inspiring for audiences. And if a nice, long list of potential acts is McLean Braun’s favorite part, the winnowing process is her
nemesis. Sometimes a booked artist will cancel their tour entirely. Or sometimes Macky’s historic features aren’t a match with the technical needs of otherwise incredible performers. Sometimes an agent suggests a tour that bounces from Dallas up to Boulder and back down to Houston. She often has to simply say no—or at least, “Not this year.” It’s a long process to piece the puzzle together, she says, and one she wishes she had more control over. “I keep wishing that I were designing the Artist Series events like a box of chocolates. ‘Oh, this
one goes here. Yep. This needs to go there.’ But it's not like that. There’s an extremely challenging practical element to planning.” Even so, it’s not all hiccups and headaches. The incredibly varied genres of the CU Presents Artist Series work in her (and audiences’) favor. “I can be nimble. I know I want at least three classical events. Then dance, jazz, world music … Sure, it's got a little bit of a repeating pattern to the things that I'm looking to balance. But it's flexible enough that I can take advantage of what's going to be going around, too.”
Eventually, some time around January in any given year, the stars align and another season packed with knockout performers comes together. Regardless of what genres are represented at Macky each year, McLean Braun knows she can always rely on one constant: Every artist or production in the Artist Series is of the highest level of talent. “It's great being a multidisciplinary presenter because, really… All things are possible for us.”
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Open Space 2018-19 SEASON HIGHLIGHTS MAR 23, 7:30 PM at Macky A live orchestra, multimedia concert with your favorite moments from Toy Story, Coco & more!
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Joan and Harold Leinbach Heather Van Dusen
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Anonymous Diane and Dick Dunn Daryl and Kay James Louise Pearson and Grant Couch Ellen and Joshua Taxman
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Janet Ackermann and Scott Wiesner Sue Blessing Joan McLean Braun Mark and Margaret Carson Chris and Barbara Christoffersen Janet and T. Scott Martin Maggie and John McKune Doyen and James Mitchell Toni and Douglas Shaller Evelyn Taylor Tebo Properties Ann and Gary Yost
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Michael and Carol Gallucci Heidi and Charles Lynch Bob and Sandy McCalmon Judy and Alan Megibow Sara Moore Jane and Cedric Reverand Mikhy and Mike Ritter Alicia and Juan Rodriguez Theodore and Ruth Smith Douglas and Avlona Taylor John and Carson Taylor Larry and Ann Thomas
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Anonymous Douglas and Rita Dart Martha Coffin Evans and Robert Trembly Norma Ekstrand and Tom Campbell Hazlitt Family Tara and Steve Kelly 30
Maria and Jesse Aweida Barbara Allen Shirley Carnahan Cathy Cloutier Shirley Fischler Laima and Damon Haley Jo Hill Maryan Jaross Pam Leland Judah and Alice Levine Gail and Thomas Madden Greta Maloney and Bob Palaich Deborah McBride Paul and Kay McCormick Gail and Julie Mock Jacqueline Muller David and Nancy Parker Becky Roser and Ron Stewart Karmen Rossi and Eric Lewis Zoe and Paul Stivers Lloyd Timblin Geoffrey Tyndall Candace and George Williams, Jr.
Friends of Eklund Opera Benefactor ($5,000+)
Jan Burton Robert S. Graham Albert and Betsy Hand Jake Heggie Ann Oglesby Al and Marty Stormo The Academy Charitable Foundation, Inc. The Louis and Harold Price Foundation
Patron ($1,000-$2,499)
Chris and Barbara Christoffersen Stephen Dilts J. Michael Dorsey and Carolyn Buck Mary and Lloyd Gelman John Hedderich Krista Marks and Brent Milne Douglas and Toni Shaller
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Judith Auer and George Lawrence Carson-Pfafflin Family Foundation Jeanie Davis Ellen and John Gille Mark and Julie Laitos Dennis G. Peterson Keyan and Becky Riley Marti and Patrick Ritto Theodore and Ruth Smith Ann and Larry Thomas Chester and Margaret Winter
Contributor ($250-$499)
Judy and Jim Bowers Barbara Brenton Martha Coffin Evans and Robert Trembly Eleanor DePuy Janet Hanley Joan and Harold Leinbach Jerry and Heidi Lynch Margaret Oakes Ann and Dave Phillips Kim and Rich Plumridge Gail Promboin and Robert Burnham Cynthia and Dave Rosengren Carol and Randall Shinn John and Carson Taylor Pete Wall Ken and Ruth Wright
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Betsy and Richard Armstrong Byrne Boys, LLC. Claudia Boettcher Merthan Sara-Jane and William Cohen Charlotte Corbridge John and Lise Cordsen Irfan and Martha Hussain Ruth and Richard Irvin Dennis and Chris Jackson William and Ann Kellogg Marion Kreith Norman Lane Barbara and Bruce Leaf Mollie and Nicholas Lee Patricia and Robert Lisensky Marian Matheson Annyce Mayer List continues on page 32.
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Byron and Catharine McCalmon Corinne McKay Marilyn and Robert Peltzer Kim and Rich Plumridge Juan and Alicia Rodriguez Peg and Chuck Rowe Ruth Schoening Carol and Arthur Smoot Linda and Jim Stinson Barbara Tamplin Walter Taylor Three Roses Salon Jim Topping Gretchen Vanderwerf and Gigi Jones Ann and Gary Yost
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Lyle Bourne and Rita Yaroush Norma R. Johnson Fund Gary and Judith Judd in memory of Fay Shwayder David and Janet Robertson Peg and Chuck Rowe Takács String Quartet
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PJ Decker and B.A. Saperstein Marion Thurnauer and Alexander Trifunac
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Pamela Barsam Brown and Stanley Brown Marda Buchholz Arnold Dunn, PhD Tom and Carol Cech Chris and Barbara Christoffersen Lauren Frear Ruth Carmel Kahn Mary and Lloyd Gelman Anne Heinz and Ran Yaron Eileen and Walter Kintsch Carol Lena Kovner Joel Pokorny Mikhy and Mike Ritter Kathleen Sullivan John and Carson Taylor
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Bill and Louise Bradley Christopher and Margot Brauchli Patricia Butler Alison Craig and Stephen Trainor Carolyn and Don Etter Robert Kehoe Carol and Tony Keig Ray and Margot LaPanse Nancy and Paul Levitt Jane Menken and Richard Jessor Virginia Newton Neil and Martha Palmer Mikhy and Mike Ritter David and Susan Seitz Lawrence and Ann Thomas Patricia Thompson
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Phil and Leslie Aaholm Ellen and Dean Boal Virginia Boucher Pauline and Noel Clark JoAnn and Richard Crandall Robbie Dunlap Ken and Dianne Hackett Bruce and Kyongguen Johnson Joan and Harold Leinbach Patricia and Robert Lisensky Albert Lundell Kim Matthews Lise Menn Becky Roser and Ron Stewart Andrew Skumanich Helen Stone Anthony and Randi Stroh James and Nurit Wolf
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Christine Arden and David Newman Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Ingrid Becher Gil and Nancy Berman Kevin and Diana Bunnell Shirley Carnahan Charlotte Corbridge Barbara and Carl Diehl
Artist Series Corporate Sponsors
Artist Series In-kind Sponsors
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Margret Hamilton and Charles Proudfit Nancy and Keith Hammond Catharine and Richard E. Harris John D. and Ruthanne J. Hibbs Everett Hilty Elizabeth and Jonathan Hinebauch William Hoffman Jennifer and Bob Kamper Caryl and David Kassoy Mireille Key Keith Kohnen Judah and Alice Levine Heidi and Jerry Lynch Gail and Thomas Madden Caroline Malde Professor John McKim Malville and Nancy Malville Maxine Mark Annyce Mayer Richard and Marjorie McIntosh Christopher B. Mueller Margaret Oakes Faith and Roy Peterson Wayne and Julie Phillips Richard Replin and Elissa Stein Mark Rosenblum JoAn Segal Todd and Gretchen Sliker Grietje Sloan Carol and Arthur Smoot Berkley Tague Barbara Tamplin Arthur and Laurie Travers Gordon and Lois Ward Barbara Warner Katherine Van Winkle Leanne and Christopher Walther William Wood Michael Yanowitch Jeffrey Zax
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Macky Auditorium
Executive Director Joan McLean Braun
Director Rudy Betancourt
Marketing and PR Director Laima Haley Operations Director Andrew Metzroth
Asst. Director for Administration Sara Krumwiede
Associate Director of Communications Jessie Bauters
Asst. Director for Production JP Osnes
Marketing Manager Daniel Leonard Public Relations Manager Becca Vaclavik Publications Specialist Sabrina Green Graphic Design Assistant Sue Kim Marketing Assistant Maeve Reilly Public Relations Assistant Corinne Baud Social Content Creator Erika Haase Video Producers Jack Dorfman Madi Smith
Asst. Director for Patron Services Matthew Arrington
Production Managers Richard Barrett Trevor Isetts House Managers Rojana Savoye Kelly Gratz Asst. House Manager Devin Hegger
College of Music Dean Robert Shay
Associate Dean for Enrollment Management and Undergraduate Studies James Austin
Box Office Manager Christin Woolley
Asst. Dean for Concerts and Communications Joan McLean Braun
Box Office Services Manager Michael Casey
Associate Dean for Graduate Studies Steven Bruns
Box Office Assistants Elisabeth Collins Samantha Cox Indigo Fischer Adrienne Havelka Alexander Herbert Autumn Pepper
Associate Dean for Faculty Affairs and Operations John Davis
Financial Manager Michael Johnston Membership Benefits Coordinator Jeni Webster
Director of Strategic Initiatives and Special Asst. to the Dean Alexander George Asst. Dean for Advancement Courtney Rowe
Recording Engineer Kevin Harbison
Music Advisory Board Sue Baer Jim Bailey Gil Berman Christopher Brauchli Bob Bunting Jan Burton Bob Charles Paul Eklund Bill Elliott Martha Coffin Evans Jonathan Fox David Fulker Grace Gamm Lloyd Gelman Laurie Hathorn Doree Hickman Daryl James Maria Johnson Caryl Kassoy Robert Korenblat Erma Mantey Ben Nelson Joe Negler Ann Oglesby Susan Olenwine Mikhy Ritter, Chair Becky Roser Firuzeh Saidi Stein Sture Jeannie Thompson Jack Walker Celia Waterhouse
Artist Series Advisory Board
Gil Berman Rudy Betancourt Joan McLean Braun Shirley Carnahan John Davis Diane Dunn Mike Gallucci Laima Haley Daryl James, President Maryan K. Jaross Ruth Kahn Andrew Metzroth Jerry Orten Erika Randall Courtney Rowe Robert Shay Gregory Silvus Ellen Taxman Ann Yost
Photography credits: Glenn Asakawa, Ascaf, Ian McMorran, Matthew Murphy and Amanda Tipton
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¡ cupresents.org ¡ 303-492-8008
Accessibility
The University of Colorado is committed to providing equal access to individuals with disabilities. For more information, visit cupresents.org/accessibility
Parking
Paid parking is available in Lot 380 next to Macky, in the Euclid Avenue Autopark, and in Lots 310 and 204. Contact the box office or check the CU Presents website for more information.
Photography
Photography and video recordings of any type are strictly prohibited during the performance.
Food
Food is permitted in the seating areas of Macky Auditorium but is prohibited in other campus venues unless otherwise noted.
Smoking
Smoking is not permitted anywhere. CU Boulder is a smoke-free campus!
Ticket sales
Ticket sales are final; no refunds. Exchanges are subject to availability and must be made at least one business day prior to the day of performance. Subscribers may exchange tickets for free. Single-ticket exchanges are subject to a $3 exchange fee. Upgrade fees may apply in all cases. Please return your tickets to the box office prior to the performance if you are unable to use them.
Box office info cupresents.org 303-492-8008
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T E C R r ulde SEC
Bo
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S LE ! I T 2 M LDER S 1 E B LY O U N O MB O FR
578 Briggs Street Erie, CO 80516 303.828.1392
BRUNCH
S AT & SU N 9 AM - 2 PM
L U N C H TUE-FRI 11AM- 3PM
DINNER
TUE-THR 5PM-9PM
F R I & S AT 5PM-10PM
S U N D AY 5PM-9PM
SIMPLE | LOCAL | FARM TO TABLE
Let us guide you home. Burgess Group at Compass is one of Boulder County’s top-producing real estate teams. Catherine and Andy have sold many of Boulder County’s iconic properties, from sophisticated lofts to gated lake community estates. Burgess Group has one clear goal: we provide the highest quality real estate services, with unparalleled support and guidance each step of the way.
Partner with trusted talent. Let’s get started!
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Compass is a licensed real estate broker and abides by Equal Housing Opportunity laws. All material presented herein is intended for informational purposes only. Information is compiled from sources deemed reliable but is subject to errors, omissions, changes in price, condition, sale, or withdrawal without notice. No statement is made as to accuracy of any description. All measurements and square footages are approximate. This is not intended to solicit property already listed. Nothing herein shall be construed as legal, accounting or other professional advice outside the realm of real estate brokerage.