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 16 at 7:30pm
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A ft
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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
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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
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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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Takรกcs Quartet
Haydn, Beethoven and Beach Sunday, Jan. 13, 2019 Monday, Jan. 14, 2019
Takács Quartet: Jan. 13 and 14, 2019
Takács Quartet
Haydn, Beethoven and Beach Sunday, Jan. 13, 2019 Monday, Jan. 14, 2019 Takács Quartet
Edward Dusinberre and Harumi Rhodes, violins Geraldine Walther, viola András Fejér, cello
Program
String Quartet in G Major, Op. 76, No. 1 I. Allegro con spirito II. Adagio sostenuto III. Menuetto. Presto IV. Allegro ma non troppo
Franz Joseph Haydn (1732-1809)
String Quartet No. 16 in F Major, Op. 135 Ludwig van Beethoven I. Allegretto (1770-1827) II. Vivace III. Lento assai, cantante e tranquillo IV. Grave, ma non troppo tratto—Allegro—Grave, ma non troppo tratto—Allegro
Intermission Piano Quintet in F-sharp minor, Op. 67 I. Adagio – Allegro moderato II. Adagio espressivo III. Allegro agitato—Adagio come prima—Presto with Jennifer Hayghe, piano
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· cupresents.org · 303-492-8008
Amy Beach (1867-1944)
String Quartet in G Major, Op. 76, No. 1 Franz Joseph Haydn (1732-1809)
The music world changed dramatically during Haydn’s long, productive life. As the 18th century unfolded, performances that had been in the possession of aristocrats and royals soon opened up to the public-at-large, as opera houses and concert and recital halls began to spring up all over the continent. With the growth of the orchestra and the popularity of opera and ballet, an awareness of music as an exciting, hall-filling entertainment increased. And where did that leave the intimate world of chamber music? How could a string quartet fill larger spaces and have any impact? This was a problem that Haydn tackled, beginning with his two lengthy visits to London in the early 1790s. In between introducing a dozen symphonies, he wrote quartets that were unveiled in midsize venues with great success. Not only were larger spaces a factor to be overcome, so too was the less-than-attentive behavior of audiences new to the concert world. Often, they were uninterested in curtailing their conversion and snacking as the music was performed. Back in 1642, Monteverdi had encountered the same problem. So, he instructed his brass players to sound an opening fanfare three times, to finally get his audience to sit down and be quiet for the start of his opera about Nero and Poppea. Mozart described to his father the unruly Parisian crowd that booed and cheered during the premiere of his “Paris” Symphony. (Audience behavior would remain a major issue: In 1882, Wagner instructed that no applause follow the ending of Parsifal’s second act.) Which brings us to the first of Haydn’s last completed string quartet cycle, Op. 76, written in 179697, commissioned by Joseph Erdödy. This G major work begins with a powerful three-chord call to attention—or possibly the composer’s plea to stop the chatting. It’s reminiscent of the explosive start to Mozart’s “Jupiter” Symphony and Beethoven’s “Eroica.” Throughout this quartet, Haydn keeps listeners engaged with some exciting, full-bore unison passages, notably in the final Allegro. Not that this work is merely about volume: The achingly slow Adagio offers a hymn-like melody that demands close-up listening. In keeping with the changing tastes of musical Vienna, Haydn all but abandons the increasingly old-fashioned minuet by offering a scherzo-like third movement marked Menuetto, but with a tempo indication of Presto. Try minueting to that! Today, audiences willingly create a moment of pure silence before the music starts, but those three opening chords of Op. 76 remind us of a time when concert audiences seemed more interested in themselves than the music.
String Quartet No. 16 in F Major, Op. 135 Ludwig van Beethoven (1770-1827)
Completed only months before his death on March 26, 1827, this light and cheerful work contradicts the horrid state of Beethoven’s life at the time. As his health was starting to fail, Op. 135 and an alternate ending to the Op. 130 quartet from the previous year would prove to be his final compositions. Besides the recurring ailments he was battling (not to mention his now-complete deafness), Beethoven was also dealing with the attempted suicide of his troubled nephew Karl, whose cause the composer had championed with unstoppable zeal. In a contentious court battle, he’d won custody but was constantly dealing with the youth’s deep unhappiness—leading to his clumsy attempt at suicide in July of 1826 at age 20. It was at his brother’s house in October of that year that Beethoven cared for Karl while completing Op. 135. In that stressful climate, and placed alongside the monumental “late” quartets that preceded, this relatively brief work might be viewed as an effort to find some respite, to return to earlier, more pleasant days of Haydn and Mozart (and early Beethoven), when a string quartet of modest lengths and accessible tunes followed the tradition of four movements. The F major quartet begins with a warm welcome in a graceful Allegretto built around a sweet, fournote idea that distributes question-and-answer episodes with equanimity. Despite its friendly demeanor, Op. 135 offers huge challenges to the players, particularly in the off-the-beat twists and turns of the · cupresents.org · 303-492-8008
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Takács Quartet: Jan. 13 and 14, 2019
Program notes
Takács Quartet: Jan. 13 and 14, 2019
wildly unpredictable second movement. But then, a prayer-like third movement offers a reminder of the composer’s singular ability to lift his music to a higher spiritual plane, with a melody sung in the ensemble’s lower ranges. The enigmatic Beethoven emerges in the final movement, which he titled Der schwer gefasste Entschluss (The Difficult Resolution). Had he known the resulting head-scratching by succeeding generations of scholars, he might have chuckled. But there’s more here. Right below that title is a single line of music divided in two segments. The first is marked Grave, the second Allegro—the first consisting of three notes over the words “Muss ess sein?” (Must it be?), the second responding with the repeated exclamation, “Es muss sein!” (It must be!). These motifs form the basis of the movement’s two main ideas: the anguished introductory section (Grave) and the main Allegro theme. What does all this mean? Two possible explanations, as it turns out. Beethoven had been squabbling with a concert organizer named Ignaz Dembscher involving payment for a manuscript of Op. 130. When he learned of the fee, Dembscher reportedly replied, “Must it be?” Told of this, the composer burst into laughter and soon wrote a four-voice canon with the words, “It must be! Yes, take out your wallet”—its theme connected to the exclamation in Op. 135. A more likely explanation comes from the note Beethoven sent his publisher: “Here, my dear friend, is my last quartet. It will be the last; and indeed it has given me much trouble. For I could not bring myself to compose the last movement. But as your letters were reminding me of it, in the end I decided to compose it. And that is the reason why I have written the motto: ‘The difficult resolution–Must it be?–It must be, it must be!’”
Piano Quintet in F-sharp minor, Op. 67 Amy Beach (1867-1944)
Thanks to a recent flurry of recordings and concert performances, the works of Amy Beach have now taken a justly deserved place among those of respected American composers. Her archly romantic music can uncover the story of a remarkable life and offer glimpses into the stifling aura of Victorian America. Born in Henniker, New Hampshire, and raised in Boston, Amy Cheney quickly displayed musical talents that astonished her mother Clara, who was a gifted musician. Able to harmonize with Clara’s singing at age 2, the little girl took to the piano at 4, though lessons were not allowed until two years later. Despite her teachers’ pleadings, Amy’s parents decided that advanced study in Europe was out of the question. Still, her keyboard technique developed at break-neck speed, such that, at 16, she debuted with the Boston Symphony, playing Beethoven’s third concerto, featuring her own cadenzas. The parental control exerted over the girl’s talents likely prepared her for a similarly limited adult career. At age 18, she married Henry Harris Aubrey Beach, a prominent Boston surgeon 24 years her senior. Now known professionally as Mrs. H.H.A. Beach (as was customary), Amy lived and worked under her husband’s rule of one benefit concert performance a year. It’s easy to picture Dr. Beach as domineering and cruel—but consider that he was a member of Boston high society and worried that some might interpret Amy’s performing as a sign that the couple was struggling financially. However, Dr. Beach did encourage his wife to write music, which she did with growing confidence, learning her craft by voraciously reading theory books and examining scores. Having studied theory for one semester at age 14, she was forbidden to take lessons in composition, since, at that time, it was thought that artistic women should be guided by emotion rather than acquired technique. Amy composed with unstoppable energy, eventually publishing 300 works in various genres, and always as Mrs. H.H.A. Beach. She became the first American woman to compose a symphony, soon joining the ranks of the Second New England School: Arthur Foote, George Chadwick, Edward MacDowell and others. When Dr. Beach died in 1910, the concert world opened to his widow, who successfully toured America and Europe as Amy Beach. Among her works are several that have entered the standard repertory: the “Gaelic” Symphony, Mass in E-flat, Piano Concerto and this F-sharp minor piano quintet, which Beach and the Hoffman Quartet premiered in February 1908. Conceived as a showcase for the composer’s keyboard talents, the quintet was well received by critics (“Truly substantial, free, variously imagined and restlessly expressive,” one wrote). It’s easy to
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· cupresents.org · 303-492-8008
She clearly absorbed techniques from all those theory books, as revealed in a brief fugue in the concluding Allegro agitato. (Note, too, the recurrence of the opening movement’s somber introduction near the end.) Having written some 150 songs, the composer knew how to craft a melody, here lovingly represented in the start of the Adagio. Though the piano is the obvious star, there are solo moments for each of the string players, notably in the viola’s extended tune midway through the final movement. Overcoming the whims of parental pressure and Boston’s male-dominated society, Beach remained undeterred. When her husband forbade concert appearances, she enthused about her other passion: “My compositions gave me a larger field,” she later said. “From Boston, I could reach out to the world.”
About the Takács Quartet The Takács Quartet, now entering its 44th season, is renowned for the vitality of its interpretations. The New York Times recently lauded the ensemble for “revealing the familiar as unfamiliar, making the most traditional of works feel radical once more,” and the Financial Times described a recent concert at the Wigmore Hall: “Even in the most fiendish repertoire these players show no fear, injecting the music with a heady sense of freedom. At the same time, though, there is an uncompromising attention to detail: neither a note nor a bow-hair is out of place.” Based in Boulder at the University of Colorado, Edward Dusinberre, Harumi Rhodes (violins), Geraldine Walther (viola) and András Fejér (cello) perform 80 concerts a year worldwide. During the 2018-19 season, the ensemble will continue its four annual concerts as associate artists at London's Wigmore Hall. In August 2018, the quartet appeared at the Edinburgh, Snape Proms, Menton and Rheingau festivals. Other European venues later in the season include Berlin, Cologne, BadenBaden, Bilbao and the Bath Mozartfest. The quartet will perform extensively in the U.S., including two concerts at New York’s Lincoln Center and at the University of Chicago, Princeton and Berkeley. A tour with Garrick Ohlsson will culminate in a recording for Hyperion of the Elgar and Amy Beach piano quintets. The latest Takács CD, to be released in summer 2019, features Dohnányi’s two piano quintets and his second string quartet, with pianist Marc-André Hamelin. In 2014, the Takács became the first string quartet to win the Wigmore Hall Medal. The medal, inaugurated in 2007, recognizes major international artists who have a strong association with the hall. Recipients so far include Andras Schiff, Thomas Quasthoff, Menahem Pressler and Dame Felicity Lott. In 2012, Gramophone announced that the Takács was the only string quartet to be inducted into its first Hall of Fame, along with such legendary artists as Jascha Heifetz, Leonard Bernstein and Dame Janet Baker. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London. The Takács Quartet performed Philip Roth’s “Everyman” program with Meryl Streep at Princeton in 2014 and again with her at the Royal Conservatory of Music in Toronto in 2015. The program was conceived in close collaboration with Philip Roth. The quartet is known for such innovative programming. They first performed “Everyman” at Carnegie Hall in 2007 with Philip Seymour Hoffman. The quartet has toured 14 cities with the poet Robert Pinsky, collaborates regularly with the Hungarian Folk group Muzsikas, and in 2010 collaborated with the Colorado Shakespeare Festival and David Lawrence Morse on a drama project that explored the composition of Beethoven’s last quartets. Aspects of the quartet’s interests and history are explored in Edward Dusinberre’s book, Beethoven for a Later Age: The Journey of a String Quartet, which takes the reader inside the life of a string quartet, melding music history and memoir as it explores the circumstances surrounding the composition of Beethoven’s quartets. · cupresents.org · 303-492-8008
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Takács Quartet: Jan. 13 and 14, 2019
hear the influence of Old World composers such as Brahms, whose own piano quintet she had played and admired. Elements common in Beach’s style can be found here: an episodic handling of themes with numerous key and meter changes, chromatic scales (perhaps influenced by Liszt) and a grand romantic sweep.
Takács Quartet: Jan. 13 and 14, 2019
The Takács records for Hyperion Records, and their releases for that label include string quartets by Haydn, Schubert, Janáček, Smetana, Debussy and Britten, as well as piano quintets by Franck and Shostakovich (with Marc-André Hamelin), and viola quintets by Brahms (with Lawrence Power). For their CDs on the Decca/London label, the quartet has won three Gramophone Awards, a Grammy Award, three Japanese Record Academy Awards, Disc of the Year at the inaugural BBC Music Magazine Awards and Ensemble Album of the Year at the Classical Brits. The members of the Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder. The quartet has helped develop a string program with a special emphasis on chamber music, where students work in a nurturing environment designed to help them develop their artistry. Through the university, two of the quartet’s members benefit from the generous loan of instruments from the Drake Instrument Foundation. The members of the Takács are on the faculty at the Music Academy of the West in Santa Barbara, where they run an intensive summer string quartet seminar, and visiting fellows at the Guildhall School of Music. The Takács Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by Gabor Takács-Nagy, Károly Schranz, Gabor Ormai and András Fejér, while all four were students. It first received international attention in 1977, winning First Prize and the Critics’ Prize at the International String Quartet Competition in Evian, France. The quartet also won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition in 1978 and the Bratislava Competition in 1981. The quartet made its North American debut tour in 1982. After several changes of personnel, the most recent addition is second violinist Harumi Rhodes, following Károly Schranz's retirement in April 2018. In 2001, the Takács Quartet was awarded the Order of Merit of the Knight’s Cross of the Republic of Hungary, and in March 2011 each member of the quartet was awarded the Order of Merit Commander’s Cross by the President of the Republic of Hungary.
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· cupresents.org · 303-492-8008
Takács Quartet: Jan. 13 and 14, 2019
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· cupresents.org · 303-492-8008
Tafelmusik
Tales of Two Cities: The Leipzig-Damascus Coffee House Monday, March 4, 7:30 p.m. Macky Auditorium
Starting at $15 at cupresents.org 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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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.
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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 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
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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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The University of Colorado is committed to providing equal access to individuals with disabilities. For more information, visit cupresents. org/accessibility
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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.
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