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Spotlight: College of Music Groundbreaking Page 06
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Spotlight: Dance on the Boulder Stage Page 12
Spotlight: Curating the Artist Series Page 22
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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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Eugene Onegin
An opera by Pyotr Ilyich Tchaikovsky March 15-17
Eugene Onegin: March 15-17
Eugene Onegin
An opera by Pyotr Ilyich Tchaikovsky March 15-17, 2019 The production will run approximately 2 hours and 45 minutes, including two 15-minute intermissions.
Special thanks to
• The Costume House, LLC for providing costumes for the production • Albert and Betsy Hand for hosting Mr. Aniolek • Center for Arts and Humanities Project Grant Graduate Committee on the Arts and Humanities Visiting Scholar/Artist Grant for Russian Diction Coaches
Content note
This production contains live, simulated gunshots.
Cast Role
Eugene Onegin Tatyana Olga Lensky Prince Gremin Filipyevna Madame Larina Triquet Captain/Zaretsky Guillot Livery
Friday/Sunday
Saturday
Dominic Aragon Erin Hodgson Claire McCahan Andrew Taylor Ashraf Sewailam Berenice Carrera Natalie Simpson Karl Allen Skyler Schlenker Sam Bruckner Michael Ritter John Waterhouse
Brandon (Tyler) Padgett Meagan Mahlberg Kilcoyne Rebecca Myers Jacob Baker Ashraf Sewailam Bethany Crosby Casey Klopp Logan Moore Skyler Schlenker Sam Bruckner Michael Ritter John Waterhouse
Name
Chorus
Name
Karl Allen, Patrick Bessenbacher, Elizabeth Bowersox, Sam Bruckner, Alexis Cairy, Berenice Carrera, Michael Crone, Bethany Crosby, Shyanne Freeman, Dominique Grogan, Anna Hansil, John Healy, Elza Picasso-Hobin (Tatyana cover), Casey Klopp, Logan Moore, Mason Owens, Paul Reynerson. Mack Rodgers, Skyler Schlenker, Natalie Simpson, Emily Skeen, Evan Stark, David Starry, Tyler Vinnola
Dancers
Nathan Bala, Anastasia Muszynski
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Eugene Onegin: March 15-17
Production staff Stage Director Leigh Holman Music Director and Conductor Nicholas Carthy Set and Lighting Designer Peter Dean Beck Costume Designer Tom Robbins Technical Director Ron Mueller Choreographer Marla Schulz Associate Director Michael Aniolek Opera TA Erin Hodgson Production Assistant Christie Conover
Orchestra Violin Ingrid Anderson Jackson Bailey Benjamin Ehrmantraut Mary Evans + Jonathan Galle Mackenzie Hoffman Lindsie Katz Paul Kim Jenna Kramer Soria Nguyen Kristen Olson * Elizabeth Potter Holly Sidney Natalie Smith Sophia Thaut Rosalee Walsh
Viola Jonathan Asbury Ariel Chien Jessica Kus Conrad Sclar * Cello Chas Barnard * Ethan Blake Gabriel Ramos Emily Taylor Double bass Alex Bozik Timothy Chen * Nick Ten Wolde Flute Brice Smith Joanna Hope Katie Scholl
Oboe Grace Stringfellow Curtis Sellers Clarinet Ellen Kennedy Rachel Wood Bassoon Kristina Nelson Victor Zhang Horn Erin Zinda Maggie Barnes Erika Hollister Benjamin Shafer Kieran Scruggs
Trumpet Drew Ziemba Sam Milam Trombone Evan Johnson Yutaro Yazawa Declan Wilcox Timpani Andrew Quinlan Harp Jenna Allen + - Concertmaster * - Principal
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Eugene Onegin: March 15-17
Production and technical staff Assistant Technical Director Jeff Rusnak
Costume Stitcher/Dresser Alison Milan
Production Stage Manager Joel Atella
Costume Assistant/Dresser Whitney Wolanin
Assistant Stage Managers Sabina Balsamo Alaina Brown
Costume Stitcher Yvonne Hines
Carpenters Andrew Koenig Ben Smith Dan Sjaastad Justin Tamplin
MUSIC STAFF Head Vocal Coach/ Chorus Master Jeremy Reger Vocal Coach Mutsumi Moteki
Scenic Artist Jennifer Melcher Assistant Scenic Artists Amy Campion Lelah Radostis Makeup Designer Jeanette Hickok Hand Properties & Wig Designer Tom Robbins
Assistant Conductor Sara Parkinson Russian Diction Coaches Kenneth Griffiths Stephanie Rhodes Russell Rehearsal Pianists Nathália Kato Barbie Noyes Xi Zhang
MACKY CREW Production Manager and Sound Engineer Trevor Isetts Master Electrician Chris Evans Rail Operator Dan Sjaastad Deck Hands Ben Smith JD Rogers Spot Operators Andrew Konig Andrew Schuster Light Board Operator Reed Otto Pit Manager Kristianna Ibsen Assistant Director of Production JP Osnes
Hair Stylist Sarah Opstad
Synopsis ACT I
End of Autumn in the Russian countryside: Madame Larina and Nurse Filipyevna prepare for an afterharvest celebration. Larina reflects upon the days before she married, when she was courted by her husband but loved another. She is now a widow with two daughters: Tatyana and Olga, who sing a favorite childhood song from inside the home. The workers of the farm arrive with the last of the harvest and join in celebration. During the celebration, Tatyana has her head in a book, filled with deep passion and ennui, while Olga shows her free-spirited self. Larina worries about Tatyana’s disposition and teases Olga because she is always playful. The poet Lensky, who is courting Olga, arrives unexpectedly. He brings along his friend Eugene Onegin, with whom Tatyana falls madly in love at first sight. Tatyana and Onegin go for a walk among the gardens while Lensky proclaims his love for Olga, who loves him in return but thinks he is acting “over the top.” The couples return to the house for dinner and the nurse notices a special spark between Onegin and Tatyana. That evening: Tatyana, unsettled and ill from being stricken by love, asks the nurse to tell her of her first love and marriage. The nurse tells Tatyana that in her day, love didn’t exist, that she was arranged to marry at the age of 13. Even so, the nurse lived a happy life with her husband. Tatyana sends her away C-4
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One week later: As the working women and boy gather berries and dance in the garden, Tatyana finds solace in a book and the outdoors. Tatyana sees Onegin arrive at the estate, and her heart begins to flutter with turmoil. Onegin approaches her and admits that while he was moved by her declaration, he cannot accept it and can only offer to love her like a brother. Tatyana is devastated but smiles through her pain. Commonly known as “Onegin’s sermon,” Onegin advises her to control her emotions, lest another man take advantage of her innocence.
ACT II
January: The local community has been invited to the Larin estate to celebrate Tatyana’s name day. The guests are treated to a beautiful dinner and an evening of dancing. Onegin has reluctantly agreed to accompany Lensky to what he thinks will be an intimate evening. Annoyed by the large crowd and hearing gossip about him as he dances with Tatyana, Onegin takes revenge on Lensky by flirting and dancing with Olga. Lensky becomes jealous and confronts Olga, who tells him not to worry. The French nobleman Triquet sings a beautiful song in honor of Tatyana, who becomes embarrassed by all the attention. Lensky, even more outraged by Onegin’s behavior and persistence with Olga, confronts him. Onegin acts nonchalant and innocent, causing Lensky to deny his friendship and challenge Onegin to a duel. The party ends abruptly with Tatyana disappointed in Onegin’s behavior, and Larina and Olga distraught over the potential outcome of the duel. The next morning: Before the duel, Lensky is left to reflect upon his poetry, his love for Olga, and death as he waits for Onegin. Onegin finally arrives. Zaretsky, Lensky’s second, finds both Onegin’s late arrival and his choice of a second (the Frenchman Guillot) to be insulting. Lensky and Onegin are full of regret, though neither stops the duel. Onegin fires first and kills Lensky.
ACT III
St. Petersburg, several years later: Shattered from murdering his companion, Onegin has spent the last several years traveling. Onegin returns to St. Petersburg and is invited to a ball at the palace of Prince Gremin. Again, Onegin is bored by the party, this time by the nobles of the Russian court. The guests talk about the arrival of Prince Gremin and his new wife, who happens to be Tatyana. Onegin is flabbergasted and realizes that he is in love with her. Prince Gremin tells Onegin that he is deeply in love with Tatyana, then introduces Tatyana to Onegin. When Tatyana and Gremin leave, Onegin becomes enraptured by the thought of Tatyana and decides to write her a letter declaring his love to her. Outside on the palace grounds, Tatyana reads Onegin’s letter. Her love for him arouses her again, and she becomes full of uncertainty. Onegin arrives and begs her to run away with him, claiming that it’s not her new status that has made him love her, but her true self. Tatyana admits that she still loves him, but decides to stay with her husband. Onegin is left alone, desperate, and heartbroken amid the frozen Russian snowfall.
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Eugene Onegin: March 15-17
and stays up all night writing a passionate love letter to Onegin. In the morning, she persuades the nurse to have her grandson deliver the letter to Onegin.
Eugene Onegin: March 15-17
Notes from Leigh Holman Stage director
Eugene Onegin, beloved by the Russian people as an opera and as literature (the novel is by Pushkin), transcends time and place and moves modern American audiences as well. Fortunately—or unfortunately—most of us can identify with the familiar tale of broken hearts and unrequited love. This new production, designed by Peter Dean Beck, is stunning. With the Russian country landscape, the Larins’ country house, the ill-fated outdoor duel locale, Gremin’s elegant mansion and the snowcovered gardens of the final passion-filled scene, Beck has created a truly remarkable place for our story to unfold. Pushkin’s novel is so well known in Russia that the lyric scenes Tchaikovsky composed provided all of the dramatic structure that the public needed—missing scenes could be “filled in” in the minds of the audience members. In the novel, Onegin spends years wandering in remorse and distress after the fatal tragedy of his friend Lensky. In the opera, with Pushkin’s wandering scenes not included, it requires the music, the actor and me to depict that remorse and exhaustion when Onegin has returned to St. Petersburg at the society ball given by Prince Gremin. This well-executed acting challenge, the coldness portrayed by the high society chorus and the orchestral and vocal expression of Tchaikovsky’s rich score help to underline the alienation and isolation Onegin feels. It is this kind of “excavating” work, not on the written page, that aptly demonstrates the old theatrical adage, “Show, don’t tell.” The role of Tatyana—so rich and complex—is a delight to unpack. The singer-actor explores Tatyana’s innocence and youth before she meets Onegin, how she is changed after their meeting and her humiliation after his rejection—eventually giving up her passions for her principles. Our sopranos, Erin Hodgson and Meagan Mahlberg Kilcoyne, expertly portray the highly developed character arc of Tania. All our students explore rich character work, the Russian language and the sublime music of Tchaikovsky in this Eklund Opera production. All of our lives have been transformed by this beautiful artistic challenge. We hope now you can lose yourself in the experience of opera—we have all worked with that lovely goal in mind. Enjoy!
Notes from Nicholas Carthy Music director
Tchaikovsky was always of two minds about making Eugene Onegin into an opera. When the Russian soprano Yelizaveta Lavrovskaya approached Tchaikovsky about writing an opera based on Alexander Pushkin’s novel-in-verse Eugene Onegin, he was apprehensive at first. Pushkin was a national treasure, and Onegin was his most famous creation; every Russian knew the story intimately. But after initial misgivings, he devoted himself enthusiastically to the task, changing the inflection of much of the libretto—which his brother Modest and Konstantin Shilovsky had penned for him—back to Pushkin’s original verse form and taking (unusually for him) great pride in the music that he had composed. And yet the doubts persisted: “I composed this opera,” he wrote in a famous letter to the composer Sergei Taneev, “Because I was moved to express in music all that seems to cry out for such expression in Onegin… but the opera will never be successful: I already feel assured of that… I much prefer to confine in to the theatre of the Conservatoire… This is much more suitable to my modest work.” One of the difficulties with our comprehension of the opera Eugene Onegin is that it is as famous for what Tchaikovsky left out, as for what he put in. In fact, he ended up describing Onegin as “Lyrical Scenes,” rather than an opera, for this very reason. C-6
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Another of the great lost scenes occurs at the end of Act I, after Tatyana’s rejection by Onegin, where she dreams that she is being chased through snow drifts by a shaggy bear and ends up being entertained at a table by monsters whose master is Onegin himself. None of these gaps would have mattered to a Russian audience, who knew what needed to be filled in; but some of the scenes that are missing could have given the opera a slightly too episodic feel for an audience that didn’t take Pushkin in with its mother’s milk. Tchaikovsky’s great achievement in Onegin is how he makes the story so seamless, interweaving the scenes with instantly recognizable themes and motifs that guide the listener through the story. And Tchaikovsky’s genius is not just in this rich, evocative music and the way he draws the different scenes together. It is also a literary, dramatic one: for Pushkin’s Onegin is, in fact, a very lonely novel. Much of the drama occurs off stage or in dreams and fantasies. Incidents happen to the protagonists separately; events are staged through letters and notes, rather than in person. In Pushkin, as has been said, characters often slide by one another. Tchaikovsky brings these sometimes disparate characters together and weaves them with Pushkin’s rhyme—and his own incomparable gift for melody—into a synthesis of all that is great about Russian music and literature.
The company Dominic Aragon, Eugene Onegin A native of Wichita, Kansas, Aragon is a first year artist diploma student. This is his second role with the Eklund Opera Program. 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. Jacob Baker, Lensky Jacob Baker, tenor, recently performed the role of Fabian in Jake Heggie and Gene Scheer’s new opera, If I Were You, workshopped through CU NOW. Previously with Eklund Opera, Baker performed the role of Beadle Bamford in Sweeney Todd, Camille de Rosillon in The Merry Widow, Actor 3 in Red Hot and Cole, Tamino in The Magic Flute and Alfredo in Die Fledermaus. In 2016 Baker made his professional chorus debut with the Florentine Opera Company, where he performed Puccini’s Madame Butterfly and Strauss’ Die
Fledermaus. Baker is a recent graduate of the master’s program at CU Boulder, where he studied under his current teacher Matthew Chellis. Nathan Bala, dancer Nathan Bala is a dance major in the College of Arts & Sciences with CU Boulder. He has been studying dance since the fall of 2018. He is trained in classical ballet, modern and hiphop. Performances include CU Boulder’s Next to Normal, amateur performance of CATS the Musical, story ballet Cinderella, and a member of 2016 and 2017 Blue Knights. “I want to thank my parents, Marla and Allen, and my family for their continuous support in the pursuit of my dreams. When I’m on stage I don’t just dance, I fly!” Sam Bruckner, Guillot Sam Bruckner is a freshman from Wayne, Nebraska. With the Eklund Opera Program Bruckner has performed as Diesel (West Side Story). Other roles include Nicely Nicely Johnson (Guys and Dolls), Frank Butler (Annie Get Your Gun), Beast (Beauty and the Beast) and Joe Hardy (Damn Yankees). Bruckner is a student of Matthew Chellis.
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Eugene Onegin: March 15-17
There is, for example, a large gap between Lensky’s death at the end of Act II and the beginning of Act III. Years in which we see Tatyana going to Onegin’s abandoned estate in search for clues to his character (leafing through his library, she asks herself whether Onegin was simply a parody of his books); and her mother, in despair, taking her into town to seek the services of a marriage broker. (For a wonderful and more detailed take on this gap, please see Dr. Holman’s notes above.)
Eugene Onegin: March 15-17
Bethany Crosby, Filipyevna Bethany Crosby has been thrilled to sing Filipyevna in her first production with Eklund Opera! Previous roles include the Third Lady (Die Zauberflöte) and the Second Witch (Dido and Aeneas). Crosby graduated in 2017 from the Wheaton College Conservatory of Music, where she studied with Carolyn Hart. She currently studies with Abigail Nims at the University of Colorado Boulder, where she is working on her Master of Music degree. Erin Hodgson, Tatyana 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. Casey Klopp, Madame Larina Casey Klopp, mezzo-soprano, hails from Houston, Texas. Currently pursuing a master’s degree at the University of Colorado Boulder, Klopp received her Bachelor of Music from Baylor University in 2017. Roles performed include Veronika in Bizet’s Doktor Mirakel, Hänsel in Humperdinck’s Hänsel and Gretel and the Sorceress in Purcell’s Dido and Aeneas. Klopp has appeared in Eklund Opera’s Die Lustige Witwe, Sweeney Todd, Ariodante and the Fall 2018 Opera Scenes – she is delighted to make her Eklund Opera solo debut as Larina. Klopp is a student of Abigail Nims. Meagan Mahlberg Kilcoyne, Tatyana Meagan Mahlberg Kilcoyne is honored to be returning to the Macky stage for the role of Tatyana. A three-time alumna of the CU Boulder College of Music, she now serves as the Associate Director of Development for the Newman Center for the Performing Arts at the University of Denver. In her previous role as Alumni Coordinator for the College of Music, she started the college’s firstever alumni engagement program. Degrees from CU include a Bachelor of Music, Master of Music and Performance Certificate. She studied in the voice studios of Julie Simson and Jennifer BirdArvidsson. Some of her favorite recent opera roles include Fiordiligi in Mozart’s Cosi fan Tutti with CU Eklund Opera, Vanessa in Barber’s Vanessa
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with Boulder Opera Company and Suor Angelica in Puccini’s Suor Angelica with Opera Oggi NY in New York City. Claire McCahan, Olga This is Claire McCahan’s fourth production with Eklund Opera. Previous roles include the title role in Handel’s Ariodante, Third Lady in Mozart’s Die Zauberflöte and Prince Orlofsky in Strauss’ Die Fledermaus. Other credits include alto soloist in Handel’s Messiah at St. Johns’ Cathedral in Denver under conductor Mathieu Lussier, the Boulder Bach Festival’s concert featuring the music of Henry Purcell under conductor Nicholas Carthy, Vivaldi’s Gloria with the Longmont Symphony, Mozart’s Requiem with the CU Boulder choruses and orchestra, and a staged performance of Jake Heggie’s Camille Claudel: Into the Fire with Opera Steamboat. She is an artist diploma candidate and a student of Abigail Nims. Logan Moore, Triquet Logan Moore is working toward earning his master’s degree in vocal performance at The University of Colorado Boulder. Most recently, Moore has been the recipient of the L. Cunningham Scholarship, the Warner Imig Scholarship, The Dale Johnson Scholarship and the David O’Hagan Music Scholar award. Moore has been a featured soloist in venues like Carnegie Hall, the Ryman Auditorium and St. Peter’s Basilica. Moore has toured with ACDA’s Executive Director Tim Sharp as a featured soloist for his Bluegrass Mass in Kaili City, China, and at the IFCM conference in Shenzhen, China. Moore is an active member of NAfME, ACDA, CMEA and NATS. Anastasia Muszynski, Dancer Anastasia Muszynski is a junior in aerospace engineering that was never quite able to give up her love of dance. She has trained in ballet since age 3, modern dance since age 12 and now Russian folk dance for the past month. She has dreamed of performing at Macky since she first stepped on campus and is thrilled to be part of her first production with the Eklund Opera Program. She would like to thank the talented and dedicated cast, musicians, directors, tech crew and designers for all their hard work, and for making this experience such a joy. Rebecca Myers, Olga 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
Boulder and a degree in architecture from Cairo University, served as director of opera at San Diego State University, the American University in Cairo and as music director for dubbing Disney productions into Arabic. Notably, among his dubbed characters as a performer were Mickey Mouse, Ursula the sea witch in The Little Mermaid and Louis in The Princess and the Frog.
Brandon (Tyler) Padgett, Eugene Onegin Tyler Padgett is a first year graduate student of CU pursuing a Master of Music in vocal performance. Padgett is a student of Andrew Garland. This will be Padgett’s second production with Eklund Opera. Padgett’s past performance credentials include Bartolo in Le nozze di Figaro, The Pirate King in The Pirates of Penzance and John Proctor in Robert Ward’s The Crucible. Tchaikovsky’s work Eugene Onegin is a beautiful masterpiece, and Padgett is honored to be a part of Eklund Opera’s production of this great work.
Natalie Simpson, Madame Larina Boulder native Natalie Simpson grew up a faithful audience member of Macky Auditorium and is delighted to make her solo debut on its stage as Madame Larina. After receiving a bachelor’s in cello performance from Adelphi University, she reoriented towards vocal performance under the guidance of John Seesholtz before starting her master’s here at CU Boulder. Roles performed include the title role of 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 La Cenerentola.
Skyler Schlenker, Captain/Zaretsky Schlenker has appeared as Sweeney Todd (Sweeney Todd), Papageno (Die Zauberflöte), Jesus (Mark Adamo’s The Gospel of Mary Magdalene) and more. Last summer, Schlenker was an Opera Fellow at the Aspen Music Festival, where he performed Luther in Les contes d’Hoffmann, scenes as Tarquinius (The Rape of Lucretia) and Sweeney Todd (Sweeney Todd: The Demon Barber of Fleet Street). He has also performed scenes through Si Parla Si Canta, in Italy, and the Brevard Music Center. Before coming to CU, Schlenker played defensive end for Ithaca College. Schlenker is an MM candidate studying with John Seesholtz and Andrew Garland. Ashraf Sewailam, Gremin Egyptian-born bass-baritone and emerging stage director Ashraf Sewailam debuted in the U.S. in 2003 as Leporello in Opera Colorado’s Don Giovanni. Hailed by the New York Times and Opera News as “the stand out performance” for singing and stage presence in his Lincoln Center debut, Sewailam has since sung with several major and regional companies and venues around the U.S. and abroad, including Seattle, San Diego, Chautauqua, Central City, Austin, Queensland Australia and New Zealand Operas. His first CD recording on Bridge label of songs by Stefan Wolpe was released in February 2007, and a further release of the new opera The Thirteenth Child is scheduled for this summer. In addition to his singing engagements, Sewailam holds a doctorate degree in vocal performance and pedagogy from The University of Colorado
Andrew Taylor, Lensky Past roles: Tony (West Side Story) Eklund Opera, Il Contino (La finta giardiniera) USU Opera, Kaspar (Amahl and the Night Visitors) USU Opera, Astolfo (La liberazione di Ruggiero dall’isola d’Alcina) USU Opera, Ivan (The Music Shop) Opera Outreach Quartet. Taylor was a featured soloist in the Xi’an International Choral Festival. He was also featured in the Utah State University Chamber Singer’s recent album, Amazing Grace. John Waterhouse, Livery Dr. John Waterhouse moved to Boulder in 2015, and he became involved in the school of music in 2017 when his wife, Dr. Celia Waterhouse, joined the College of Music advisory board. Waterhouse graduated in 2004 from the University of Sydney Veterinary School in Australia and went into general, small-animal practice. In 2010, Waterhouse moved to the United States to undertake a fellowship in pain management and rehabilitative medicine in Colorado Springs. Waterhouse is currently the director of Veterinary Teaching Academy and speaks on topics of canine arthritis, pain management and canine sports medicine around the world.
· cupresents.org · 303-492-8008
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Eugene Onegin: March 15-17
the 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). She is very excited to perform the roles of Olga and Mrs. Grose (Turn of the Screw) with Eklund Opera this spring. Myers is a student of Abigail Nims.
Eugene Onegin: March 15-17
Technical and production staff Michael Aniolek, Associate Director Director Michael Aniolek has been praised for his striking stage pictures, ability to incite deep emotion from his actors and his innovative stagings. In 2017, Aniolek made his European debut as associate stage director for The Pafos Aphrodite Festival, in Cyprus with Die Entführung aus dem Serial. As a director, his work ranges from operas and scenes from great operatic classics to contemporary American opera, including Ned Rorem’s Three Sisters who are not Sisters. As an advocate and enthusiast for new and recent works, Aniolek was the assistant director to composer and director Mark Adamo in a chamber staging of his work The Gospel of Mary Magdelene with CU NOW and assisted the world premiere of Vinkensport and the American premiere of Rocking Horse Winner at Opera Saratoga. A native of Schenectady, New York, Aniolek is an alumnus of CU Boulder and the Eklund Opera Program. 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. 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. Peter Dean Beck, Set and Lighting Designer Beck has designed scenery and lighting for Eklund Opera for 25 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 C-10
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principal designer for 32 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 theatre 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. Nicholas Carthy, Music Director/Conductor Nicholas Carthy, now in his 15th season with Eklund Opera, studied at the Mozarteum in Salzburg, Austria. He served as musical assistant to Bernard Haitink and Sir Georg Solti at the Salzburg Festival and to Daniel Barenboim in Paris, Chicago and Bayreuth. Carthy has conducted opera productions in Vienna, Salzburg, Oslo, Stockholm, Winterthur, Milan, Rome, Naples, Bonn, Eugene and Tel Aviv. He has conducted orchestras including the Colorado Symphony, Nordwestdeutsche Philharmonie, Orchestra RAI di Torino, Orchestra San Carlo di Napoli and the Accademia Filarmonica Roma. As a collaborative pianist he has performed in many of the world’s great halls, including Carnegie Hall, Suntory Hall, Wigmore Hall, the Bolshoi Theatre and the Musikverein Vienna. He is music director of the Helgeland Sinfonietta and the Toppen International Summer School in Norway. He is well-known for his public lectures at the University of Colorado and beyond, and is occasionally heard on the radio, spreading around his uncurbable enthusiasm for music and history. 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.
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.
Marla Schultz, Choreographer Marla has had the pleasure to work as a director and choreographer for various theatres and films across the country. Her work explores the boundaries between dance and scene in musicals as well as plays, expanding the function of dance as a production element. Her research has seen practical applications in shows such as Adding Machine and Everyman at the University of Colorado Boulder in collaboration with directors Cecilia Pang and Will Lewis respectively. Most recently her thesis production of Next to Normal enjoyed a sold out run in the Charlotte York Irey Theatre. Schultz acted as both director and choreographer, using movement to explore mental illness and trauma as it relates to the body. Other notable past productions include: Mary Poppins (Artisan Center Theatre), Peter and the Starcatcher (University of Colorado Boulder), the Off-Broadway premiere of A Pie Rat’s Tale (Three Act Theatre) and the Motif Awards Opening Performance (Walt Disney Concert Hall). Schulz is currently completing her MFA in dance from the University of Colorado Boulder.
Jeremy Reger, Chorus Master and Vocal Coach International pianist and educator Jeremy Reger maintains an active performing and coaching career. He has served on the music staff of Virginia Opera, Eugene Opera, Hawaii Opera Theater, Mill City Opera, Minnesota Opera, Skylark Opera and Aspen Opera Theater. He recently joined the CU Boulder faculty as a vocal coach. Previously, he taught at the Music Academy of the West, at Christopher Newport University, in Recife, Brazil, and at Indiana University. He has played in the Virginia Symphony, the Williamsburg Symphonia, the Carmel Symphony and the Terre Haute Symphony. Reger earned a doctorate in collaborative piano from the University of Michigan under Martin Katz. Tom Robbins, Costume Designer Tom Robbins has been with Eklund Opera for 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.
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Eugene Onegin: March 15-17
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, Sweeney Todd and Ariodante. As well-suited to new operatic works as she is to traditional works, Holman has produced and directed workshops of operas in association with composers and librettists, including Jake Heggie, Gene Scheer, 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.
The Turn of the Screw An opera by Benjamin Britten April 25-28, 2019 Music Theatre
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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.
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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
Gil and Nancy Berman Mary Lamy Paul Bechtner Foundation Greg Silvus
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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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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
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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
Member ($100-$249)
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
Patron ($1,000-$2,499)
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
Supporter ($500-$999)
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
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· cupresents.org · 303-492-8008
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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PUTTIN’ ON THE LEASH 2019 APRIL 13 | 6PM CU EVENTS CENTER
TICKETS & MORE INFO AT
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Policies CU Presents
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
s ’ y t oun
T E C R r ulde SEC
Bo
PT E K
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!
catherine@burgessgrouprealty.com andy@burgessgrouprealty.com burgessgrouprealty.com | 303.506.5669
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.