From London with Love Maestro Nicholas Carthy leads the BBF baroque orchestra from the harpsichord, in a program that will delight the senses with charm, passion, elegance, wit, and adoration. Soloists include cellist Guy Fishman, soprano Szilvia Schranz and mezzo-soprano Claire McCahan. Arias, concertos, and a suite of dances by Purcell and Handel, plus the first known performance of Robert Valentine’s Concerto Grosso in A Major.
Discounted ticket code for 10% off entire purchase: LONDON10 is applicable for online ticket purchases: boulderbachfestival.org/tickets/ No additional fees or taxes when purchasing through our secure website. Phone: (720) 507-5052
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FEBRUARY 22–24, 2019
Spotlight: Into the Woods Page 06
Season Calendar Page 08
Spotlight: Tafelmusik Page 12
Spotlight: Eklund Opera 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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What if ‘happily ever after’ isn’t so happy after all? In the Tony Award-winning musical Into the Woods, famous storybook characters come to life on stage. Set to an iconic Stephen Sondheim score, a childless baker and his wife venture into a forest to reverse an evil witch’s spell that prevents them from becoming parents. Along the way, they run into Cinderella, Little Red Ridinghood, Jack (of beanstalk fame) and other fairy tale characters who are also pursuing their hearts’ greatest desires. And, of course, everyone gets their happily ever after—at the end of the first act, at least. In the second act, the musical explores the consequences of 06
SPOTLIGHT
a romanticized “ever after” and the complicated truth behind getting exactly what you wish for. Balancing bawdy humor with poignant sincerity, the plot touches everything from infidelity to neglectful parenting to the early stages of grief. You’ll laugh; you’ll cry; you’ll want to call your mom and tell her you love her. (Trust us on this last point!) To be clear, Into the Woods is a better match for date night than family night. (In fact, Music Theatre International gives it a PG-13 rating.) But if you have loaded your Netflix queue with episodes of Once Upon a Time and Grimm, or
if you enjoy dark, funny takes on childhood classics—I’m looking at you, Chilling Adventures of Sabrina fans—or if you’re simply a huge fan of Sondheim, this production from the CU Department of Theatre & Dance is an absolute must-see.
Into the Woods runs Feb. 22-March 3 in the University Theatre. Tickets start at $24.
Hear Zee’s story
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Silkroad Ensemble
Kodo One Earth Tour 2019
Thursday, Jan. 31, 7:30 p.m. Starting at $21
Tafelmusik
The Leipzig-Damascus Coffee House Monday, March 4, 7:30 p.m. Starting at $15
08
Evolution Saturday, Feb. 16, 7:30 p.m. Starting at $23
Batsheva Dance Company
“Venezuela” by Ohad Naharin Wednesday, March 20, 7:30 p.m. Starting at $34
· cupresents.org · 303-492-8008
Dorrance Dance
Saturday, April 6, 7:30 p.m. Starting at $20
Eklund Opera Program
TakĂĄcs Quartet
CU Boulder’s Grammy Award-winning quartetin-residence is irresistible. Jan. 13 and 14 Feb. 10 and 11 April 28 and 29
Starting at $36
Eugene Onegin
An opera by Pyotr Ilyich Tchaikovsky March 15-17 Starting at $15
More events CU Music
CU Theatre & Dance
Renowned faculty musicians perform in a weekly concert series featuring guest artists, students and professional colleagues. Tuesdays at 7:30 p.m., August-March
A play by John Cariani Feb. 7-10, starting at $16
Faculty Tuesdays
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
Almost, Maine Catapult
A BFA dance concert Feb. 7-10, starting at $16
Into the Woods
Music and Lyrics by Stephen Sondheim Book by James Lapine Feb. 22-March 3, starting at $24
Open Space
Curated by CU Dance Connection Feb. 28-March 3, starting at $16
Most concerts are free and open to the public.
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with Tafelmusik’s ‘Tales of Two Cities’ Leipzig, Germany. Damascus, Syria. Two urban hubs, worlds apart in terms of their culture— architecture, cuisine, musical influences. Or so you’d think. According to Alison Mackay, double bassist for Tafelmusik, these cities have historic connections that might surprise most audiences. Leipzig, for example, was a key study center for Arabic and Syrian culture during the baroque era. 12
SPOTLIGHT
“I'm always interested in turning a new lens on Bach’s repertoire or seeing it in the context of what else was happening in the world at the time baroque music was being played, just to put in a richer historical—and perhaps more global—context.
Mackay is the creator of Tafelmusik’s March 4 Boulder program Tales of Two Cities: The Leipzig-Damascus Coffee House. It’s a piece she developed over the course of several years, regularly traveling from Toronto to Leipzig to uncover new pieces of knowledge.
“And, well, sometimes one thing leads to another,” she says with a smile in her voice.
Her research was extensive. In addition to countless hours spent in libraries, Mackay was in touch with experts all over the world for inspiration. An art historian
weighed in on the architecture of coffee houses during the baroque era. It had a direct impact. Tales of Two Cities has a theatrical set inspired by an actual room from 18th century Damascus the historian restored for a state museum in Dresden, Germany. When Mackay conceives a program like this one, everything works hand in hand to tell the story, authentically tying the music to a greater narrative. The end result, as Boulder audiences will see, is a striking performance that has been hailed as a “phenomenon that was unexpected and powerful,” (The Globe and Mail) and a “flawless affair, musically as well as
aesthetically” (Musical Toronto). It’s wholly different from a typical baroque concert—because it’s something more. In addition to the set, the performance will feature projections with images and film, as well as scripted text. A narrator acts as a tour guide throughout the program. The members of Tafelmusik will perform the piece from memory to allow for more movement and staging. They’ll play on original instruments from the baroque period. “What we're trying to do is recreate the feeling of being an audience member in a coffee house in 18th century Germany and in 18th century Syria.”
The effect is a night that is sometimes concert, sometimes history lesson, sometimes adventure. It’s a musical feat that is sure to be a treat for the eyes as well as the ears.
See Tafelmusik in Macky Auditorium on March 4. Tickets start at $15.
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Tafelmusik
Tales of Two Cities: The Leipzig-Damascus Coffee House Monday, March 4, 2019
Tafelmusik: March 4, 2019
Tafelmusik Baroque Orchestra Elisa Citterio, Music Director
Tales of Two Cities: The Leipzig-Damascus Coffee House Conceived, programmed and scripted by Alison Mackay Directed by Elisa Citterio Alon Nashman, narrator Trio Arabica Maryem Tollar, voice and qanun Naghmeh Farahmand, percussion Demetri Petsalakis, oud Marshall Pynkoski, Stage Director Glenn Davidson, Production Designer Raha Javanfar, Projections Designer
Tafelmusik’s U.S. Tour (2019) is generously supported by:
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Ouverture in D Major
G.P. Telemann
Badat Min al Khidri
Traditional
Yamul ‘Uyoun Issoud
Traditional
Ritornello from Orfeo, Act II
C. Monteverdi
Ya Malikan
Omar Al-Batsh
Chaconne from Cadmus et Hermione
J.B. Lully
Concerto for 4 violins in G Major: Largo – Vivace
Telemann
Trio Sonata in G minor, Op. 2, No. 5: Allegro
G.F. Handel
Concerto for viola in G Major: Presto
Telemann
Tish Nign (After an 18c. source, from The Book of Klezmer by Yale Strom)
Traditional
Dulab Bayat
Traditional
Concerto grosso Op. 6, No. 6: Musette / Darij Bayat
Handel/Traditional
Ouverture reprise
Telemann
Intermission Concerto grosso Op. 6, No. 5: Allegro
Handel
Concerto for violin in E minor, Op. 8, No. 9: Allegro
G. Torelli
Burlesque de Quixotte Le galope de Rosinante/Celui d’âne de Sanche (“The gallop of Rosinante/That of Sancho’s donkey”) Son attaque des moulins à vent (“His attack on the windmills”) Musique de Table, Book III: Conclusion
Telemann
Sinfonia after “Ehre sei dir, Gott” from Christmas Oratorio
J.S. Bach
Zikrayati Afdihi in Hafidhal Hawa Ow Diya’a Percussion improvisation
Mohamed Al-Qasabji Sheikh Abul Ela Mohamed (Lyrics by Ibn Alnabi)
Adagio after Aria “Wo zwei und drei versammlet sind,” from Cantata 42 Tala’a Min Beyt Abouha/Ritornello from Concerto in E minor
Bach
Traditional/Telemann · cupresents.org · 303-492-8008
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Tafelmusik: March 4, 2019
Program
Tafelmusik: March 4, 2019
Program notes by Alison Mackay
Tales of Two Cities: The Leipzig-Damascus Coffee House is a celebration in music, words and images of 18th-century culture in two fascinating cities. Though separated by more than 1,800 miles, Leipzig and Damascus had a number of characteristics in common. Both lay at the crossroads of ancient commercial routes and became important centers for international trade fairs. Leipzig lay at the intersection of the Via Regia (the east-west route from Santiago de Compostela to Kiev and Moscow) and the Via Imperii (the north-south route from Rome and Venice to the Baltic Sea). Merchants from many countries converged on the city three times a year, bringing furs, wines, textiles and books to be sold at trade fairs that were among the most famous in Europe. Damascus lay at the intersection of the Via Maris, which linked the Mediterranean Sea with Syria, Iraq, Iran and the Far East, and the north-south route from Turkey to Yemen and the Arabian Sea. Important trade fairs were established for the sale of silks, jewels and coffee from the Levant and the Far East. Leipzig and Damascus were also both famous centers of scholarship and learning. Leipzig was a vital center for book publishing and the dissemination of ideas. Its university was one of the oldest in Europe, attracting students and scholars of theology, philosophy and law from all over Germany. The ancient city of Damascus, which had been conquered by the Ottoman Turks in 1516, was a cosmopolitan hub of intellectual activity. Scholars speaking Arabic, Persian and Greek used the services of the city’s scribes for their treatises on medicine, astronomy and philosophy. Leipzig and Damascus had another striking feature in common: They both enjoyed a lively tradition of coffee houses in which the finest musicians of the city performed. The autobiographical writings of Georg Philipp Telemann recount how he began to direct a music club called the Collegium Musicum for the students at Leipzig University in the early years of the 18th century. In 1702, the first public streetlights were installed in the city, making it possible for respectable people to be out after dark. Coffee houses soon became destinations for refreshments, conversation and entertainment, and the student musicians began to perform at several local establishments. In 1729, the Collegium Musicum was taken over by Johann Sebastian Bach, who directed weekly concerts for the patrons of Zimmerman’s Coffeehouse. He supplemented the ensemble of student performers with members of his family, visiting virtuosi and Stadtpfeiffers—elite performers from the town band. The repertoire by Telemann, Handel and Bach included in the concert is typical of the music performed there. The public coffee houses of Syria were also venues for famous musicians who performed settings of strophic poems called muwashshahs, instrumental doulabs and improvised taqsims— forms of classical Arabic music that are the specialty of our guest ensemble, Trio Arabica. Our performance includes the telling of a story about a destitute migrant, a tale told by Scheherezade in some manuscript collections of The Arabian Nights. It originates as a moral
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Verses from a poem attributed to Al-Ghazali, who was highly esteemed in Damascus, decorate the exquisite room that has inspired our theatrical set piece. It is a room with exuberant Islamic designs and baroque European influences that was brought from Damascus to the Ethnological Museum in Dresden in 1899. In its original setting, this room would have been a place for relaxation, for business and for cross-cultural encounters over coffee. The dividing lines between the ancient communities of Muslims, Jews and Christians who had been part of the fabric of Damascus for centuries were blurred, and the beautiful calligraphy around the room, which avoids overtly religious content, betrays a desire to make visitors from other traditions feel welcome in the house. In the present time, when so many Syrians are making new homes in Germany, the people of Leipzig and newcomers from Damascus are seeking similarly creative ways to accommodate and enrich each others’ cultures in their new and challenging reality. In the process of restoring the Damascus Room in nearby Dresden, young Syrian scholars are being trained by German mentors in the restoration of the historical interiors of their homeland. It is their and our dream that they will one day be able to practice their art and enjoy coffee and music in a peaceful Damascus. For a list of the projected images and where they were obtained, please visit: tafelmusik.org/talesimages
· cupresents.org · 303-492-8008
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Tafelmusik: March 4, 2019
tale in a work now known as The Mirror for Princes by the medieval Islamic philosopher Al-Ghazali. A copy of this work from the collection of an 18th-century Syrian coffeehouse storyteller named Ahmad al-Rabbat may be found in the library of the University of Leipzig.
Tafelmusik: March 4, 2019
Biographies Tafelmusik Baroque Orchestra
Renowned for its dynamic, engaging and soulful performances, Tafelmusik is one of the world’s leading period-instrument ensembles, performing on instruments and in styles appropriate for the era of the music. Last season it welcomed Music Director Elisa Citterio. Only the second music director in Tafelmusik’s history, she took over from Music Director Emerita Jeanne Lamon. Tafelmusik is Canada’s most toured orchestra, having performed in over 350 cities in 32 countries, and is proud to call Toronto home. There, the orchestra performs some 80 concerts each year for a loyal and enthusiastic audience in diverse venues across the city. The orchestra is joined in performances by the critically acclaimed Tafelmusik Chamber Choir and its director Ivars Taurins. Tafelmusik seeks to transport audiences to the baroque and classical periods through adventurous cross-cultural collaborations. Its musicians share their knowledge and experience through artist-training initiatives, such as the Tafelmusik Baroque Summer and Winter Institutes. Tafelmusik’s recordings on the Sony, CBC Records, Analekta and Tafelmusik Media labels have garnered nine JUNOs and numerous international recording prizes. tafelmusik.org
Elisa Citterio
The brilliant violinist Elisa Citterio joined Tafelmusik as music director last season. She moved to Toronto from her native Italy, where she divided her artistic life between orchestral work and an intense schedule as a chamber musician. She has recorded and toured, often as leader, with ensembles such as Dolce & Tempesta, Europa Galante, Accademia Bizantina, Accordone, Zefiro, la Venexiana, La Risonanza, Ensemble 415, Concerto Italiano, Orquestra del Monsalvat, Il Giardino Armonico and Orchestra Academia 1750. From 2004 she was a member of the Orchestra del Teatro della Scala di Milano. Her discography includes more than 35 recordings of Vivaldi, Bach, Handel, Corelli, Monteverdi and Haydn.
Alison Mackay
Alison Mackay, who has played the violone and double bass with Tafelmusik since 1979, is active in the creation of cross-cultural and multi-disciplinary programs for the orchestra. A number of her projects, which include The Four Seasons, a Cycle of the Sun; The Galileo Project; House of Dreams and Tales of Two Cities: The Leipzig-Damascus Coffee House have been made into feature documentary films and have toured extensively around the world. Her musical tale of adventure, The Quest for Arundo Donax, was awarded the 2006 JUNO Award for Children’s Recording of the Year, and she is the recipient of the 2013 Betty Webster Award for her contribution to orchestral life in Canada.
Alon Nashman
Alon Nashman is a performer, director and creator of theatre. He is co-creator of Charlotte: A Tri-Coloured Play with Music (Luminato), Hirsch (Stratford Festival) and Kafka and Son (World Stage). Nashman directed Alphonse (Theatre Direct) and The Snow Queen (for string quartet and narrator, Banff Centre). Under the banner of THEATURTLE, Nashman’s work has been seen in New York, London, Prague, Germany, South Africa’s National Arts Festival, Iceland’s National Theatre, Vancouver’s Chutzpah Festival, Winnipeg’s RMTC, Victoria’s UNO FEST, Ottawa Chamberfest, Taiwan’s World Stage Design Festival and Edinburgh Festival Fringe. He has appeared as an actor on stages across Canada.
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Trio Arabica (also known as Al Qahwa Ensemble) features Maryem Tollar on vocals, qanun and percussion; Demetri Petsalakis on oud; and Naghmeh Farahmand on percussion. The trio performs traditional songs from Arabic classical and popular repertoire, including folk songs from Syria, Egypt and Iraq, and songs from the Muwashah tradition, where devotional poetry is set to exquisite melodies and hypnotic rhythms which Tollar learned in Aleppo, Syria.
Personnel
Tafelmusik Baroque Orchestra Violin Elisa Citterio Patricia Ahern Thomas Georgi Elizabeth Loewen Andrews Christopher Verrette Julia Wedman Cristina Zacharias Viola Patrick G. Jordan Brandon Chui Violoncello Allen Whear Mime Yamahiro Brinkmann Double bass Alison Mackay Oboe John Abberger Marco Cera Bassoon Dominic Teresi Harpsichord Stefano Demicheli
Glenn Davidson, Technical Director Jason Golinsky, Lighting Associate Raha Javanfar, Video Operator Beth Anderson, Tour & Stage Manager
¡ cupresents.org ¡ 303-492-8008
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Tafelmusik: March 4, 2019
Trio Arabica
Batsheva Dance Company “Venezuela� by Ohad Naharin
Wednesday, March 20, 7:30 p.m. Macky Auditorium
Starting at $34 at cupresents.org Limited tickets available Discounts for groups, youth, seniors, students and CU employees at cupresents.org/discounts
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This spring, Eklund Opera invites you to choose your own adventure For fans of classic literature, Eklund Opera’s 2018-19 season is already a megahit. Last fall, program director Leigh Holman kicked off the school year with a praised production of West Side Story, based, of course, on Shakespeare’s Romeo and Juliet. And this spring, she will bring two more literary adaptations to the stage. Opening March 15, the Eklund Opera Program will present Eugene Onegin, a Tchaikovsky piece based on the Pushkin novel of the same name. 22
SPOTLIGHT
Eugene Onegin tells an enduring story of unrequited love and poor timing. A young woman named Tatyana falls in love with a man, Eugene Onegin, but he doesn’t return her admiration. Life goes on, as it does. Years later, when their paths cross again, Tatyana has become wealthy, successful and more beautiful than ever. (You can guess where this is heading.) Onegin finally reciprocates her affection. But is it too little too late? “What does she do with that—with his waiting and not loving her when
she loved him? Now he loves her, but what should she do with that information?” Holman asks. (No spoilers here; you'll have to head to Macky for the answer.) If you enjoyed West Side Story for its grand romance, this Russian opera is the production for you, says Holman. “If you love rich sets and costumes, this is the thing to see. It has a lush, bouncing, romantic feel, with big ballroom scenes, a huge chorus and serious star power. It’s going to a be a feast for the eyes.”
But If romance isn’t your cup of tea, perhaps a spooky story is a better match. In April, Eklund Opera will present a much more intimate and theatrical opera in the Music Theatre: The Turn of the Screw, Benjamin Britten’s work inspired by an 1898 horror novella by Henry James. “There’s a real difference with The Turn of the Screw. It has a dark, shadowy, fringy feel,” shares Holman. It’s a much more intimate and theatrical experience than Onegin offers. In the haunting chamber opera, a governess believes strange spirits are attempting to possess the children in her charge.
Tensions rise (and so will the hair on the back of your neck) as this story reaches its bone-chilling conclusion. To borrow another literary convention, the two spring operas offer an opportunity to choose your own adventure, Holman confides. Romance or horror, grand or intimate, Russian or English—there’s something for every interest here. Our take? If the breathtaking vocals and heart-pounding action of West Side Story were any indication of Holman’s and the Eklund Opera Program’s ability to breathe new life into the classics, you won’t want to miss either one.
See Eugene Onegin March 15-17 in Macky Auditorium. Tickets start at $15. See The Turn of the Screw April 25-28 in the Music Theatre. Tickets start at $20.
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Open Space 2018-19 SEASON HIGHLIGHTS • JAN 19 at Macky & • MAR 23—Pixar in JAN 20 at Pinnacle PAC— Concert Pianist Garrick Ohlsson • APR 27—Dvořák’s New plays Rachmaninoff World Symphony and • FEB 9—Mahler Symphony Ellis Island: The Dream of America with actors & No. 4 with soprano projected images Mary Wilson • MAR 2—Elgar Cello Concerto • MAY 4—The Music of David Bowie with Astrid Schween & Beethoven Symphony No. 4 Visit our website for full details
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Artist Series Donors Benefactor ($5,000+) Gil and Nancy Berman Mary Lamy Paul Bechtner Foundation Greg Silvus
Sponsor ($2,500-$4,999) Anonymous Diane and Dick Dunn Daryl and Kay James Louise Pearson and Grant Couch Ellen and Joshua Taxman Patron ($1,000-$2,499) Janet Ackermann and Scott Wiesner Sue Blessing Joan McLean Braun Mark and Margaret Carson Chris and Barbara Christoffersen Maggie and John McKune Doyen and James Mitchell Toni and Douglas Shaller Evelyn Taylor Ann and Gary Yost Supporter ($500-$999) Michael and Carol Gallucci Heidi and Charles Lynch Janet and Scott Martin Bob and Sandy McCalmon Judy and Alan Megibow Jane and Cedric Reverand Mikhy and Mike Ritter Alicia and Juan Rodriguez Theodore and Ruth Smith Douglas and Avlona Taylor Larry and Ann Thomas Contributor ($250-$499) Anonymous Martha Coffin Evans and Robert Trembly Norma Ekstrand and Tom Campbell Tara and Steve Kelly Joan and Harold Leinbach Heather Van Dusen 30
Member ($100-$249) Maria and Jesse Aweida Barbara Allen Shirley Carnahan Cathy Cloutier 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 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 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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Supporter ($500-$999) Judith Auer and George Lawrence Carson-Pfafflin Family Foundation Ellen and John Gille Mark and Julie Laitos Dennis G. Peterson Theodore and Ruth Smith Al and Marty Stormo 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 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 Marti and Patrick Ritto Carol and Randall Shinn Pete Wall Ken and Ruth Wright Member ($100-$249) Betsy and Richard Armstrong Claudia Boettcher Merthan Sara-Jane and William Cohen Charlotte Corbridge John and Lise Cordsen Jeanie Davis Janet Hanley Irfan and Martha Hussain Ruth and Richard Irvin Dennis and Chris Jackson William and Ann Kellogg Norman Lane Mollie and Nicholas Lee Patricia and Robert Lisensky Marian Matheson Annyce Mayer List continues on page 32.
Wolpert “Baroque in Mirror” World Premiere Bach Harpsichord Concerto Haydn Symphony No. 22, the Philosopher Jory Vinikour, harpsichordist
“Elegant… transcendent” Cynthia Katsarelis, conductor
Friday, February 22, 2019 at 7:30 pm, Denver First Baptist Church of Denver Saturday, February 23, 2019 at 7:30 pm, Boulder Mountain View United Methodist Church, Sunday, February 24, 2019 at 2:00 pm, Longmont Stewart Auditorium - Longmont Museum
Tickets $5 - $35 Call or visit: 720-341-6160 ProMusicaColorado.org
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Kathleen Sullivan John and Carson Taylor Supporter ($500-$999) Bill and Louise Bradley Christopher and Margot Brauchli Patricia Butler Alison Craig and Stephen Trainor 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 Contributor ($250-$499) Ellen and Dean Boal Virginia Boucher Pauline and Noel Clark JoAnn and Richard Crandall Robbie Dunlap Carolyn and Don Etter 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 James and Nurit Wolf Member ($100-$249) Phil and Leslie Aaholm Christine Arden and David Newman Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Ingrid Becher
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Gil and Nancy Berman Kevin and Diana Bunnell Shirley Carnahan Charlotte Corbridge Barbara and Carl Diehl 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 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 Katherine Van Winkle Leanne and Christopher Walther William Wood Michael Yanowitch Jeffrey Zax
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TARGETED MARKETING THAT PERFORMS With publications
Love’s Labour’s Lost Richard III
Cyrano de Bergerac
WE CREATE BEAUTIFUL ALLIANCES BETWEEN DESIGN AND FUNCTION.
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You Can’t Take It With You By Moss Hart and George S. Kaufman
Edward III
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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 Box Office Manager Christin Woolley Box Office Services Manager Michael Casey Box Office Assistants Elisabeth Collins Samantha Cox Indigo Fischer Adrienne Havelka Alexander Herbert Autumn Pepper Financial Manager Michael Johnston Membership Benefits Coordinator Jeni Webster Recording Engineer Kevin Harbison
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 Asst. Dean for Concerts and Communications Joan McLean Braun Associate Dean for Graduate Studies Steven Bruns Associate Dean for Faculty Affairs and Operations John Davis Director of Strategic Initiatives and Special Asst. to the Dean Alexander George Asst. Dean for Budget and Finance David Mallett Asst. Dean for Advancement Courtney Rowe
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, Colin Bell, Christian Daellenbach, Christopher Duggan, Christopher Jones, Ian McMorran, Takashi Okamoto, Sian Richards, Amanda Tipton and Max Whittaker. Artist credit, pages 9 and 22-23: Janalee Robison
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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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