2014–2015 Season
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The Eklund Opera Program
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Contents Merchant pleases fans old and new......................................... 6 Calendar........................................ 8 Jesus Christ Superstar changed the face of theater in Boulder............ 10 2015 Colorado Shakespeare Festival features fan favorites...... 14 Thompson Jazz Studies Program.......................... 18 Faculty Tuesdays......................... 20 Artist Series donors..................... 22 Takács donors............................. 24 Eklund Opera Program donors.... 28 Personnel.................................... 30
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SPOTLIGHT
Gray and graceful, Merchant pleases fans old and new with symphony collaborations Natalie Merchant is used to it by now—the startled gasp from the audience when she emerges on stage. The reaction says more about our celebrity-crazed culture than it does about Merchant, embraced by fans in the 1980s as the hip vocalist and literate lyricist/songwriter for the alt-folk-rock band 10,000 Maniacs. Now 51, she’s doing everything she can to celebrate her maturity. Case in point: She stopped coloring her hair, and started rocking the salt-and-pepper look.
“The palette is so rich and broad with an orchestra. The emotional, dynamic range is so huge. It goes from a whisper to a sunburst,” Merchant says. “It seems natural to try to evolve as a more mature performer. … This is a way for me to stay active and vital, and I feel that it’s a way that I can stay true to myself.” Natalie Merchant will perform at 7:30 p.m. Thursday, April 2 with the CU Symphony Orchestra at Macky Auditorium as part of the Artist Series. For tickets, go to cupresents.org or call 303-492-8008. — Mary Colurso, AI.com
“It’s part of my campaign to age gracefully,” Merchant says. “I think, as a culture, we’re obsessed with youth culture. … But I’ve completely changed my mindset. Now, when I see women with gray hair, it’s beautiful.” In that same spirit, she has been performing with symphony orchestras across the country, freshly arranging songs from both her multi-platinum solo and Maniacs albums to accord with strings and woodwinds, brass and percussion. COURTESY NATALIE MERCHANT
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2014-15 Calendar
E K L U N D
The Artist Series presents the world’s finest performers in classical music, jazz, theater, dance and world music in majestic Macky Auditorium. For detailed information and tickets, go to cupresents.org.
NATALIE MERCHANT with the UNIVERSITY SYMPHONY ORCHESTRA
Thursday, April 2, 7:30 p.m. Over her stellar 30-year career, Natalie Merchant has been the driving force behind alt-pop sensation 10,000 Maniacs and embarked on a multi-platinum solo career, always delving deep into the human condition with her lyrical storytelling. Now she brings that same searching literary sensibility and her distinctive vocal style to new heights in a performance of her music, old and new, arranged for orchestra. Sponsored by Hurdle’s Jewelry.
Wide-ranging repertoire, lavish scenery, drama and amazing voices—CU’s Eklund Opera Program has it all. Director Leigh Holman and Music Director Nicholas Carthy showcase the talent of the future in three productions each season. Go to cupresents.org for detailed ticket information and times.
COSÌ FAN TUTTE
By Wolfgang Amadeus Mozart March 13-15, Macky Auditorium Mozart’s witty opera buffa, which follows 24 hours in the lives of two beautiful sisters whose scandalous infidelities, was considered too hot for audiences in the early 20th century. This production highlights comic elements and takes its cue from romantic comedies of the late ‘50s and early ‘60s such as Pillow Talk, starring Doris Day and Rock Hudson. Sung in Italian with English surtitles.
L’INCORONAZIONE DI POPPEA (THE CORONATION OF POPPEA)
By Claudio Monteverdi April 23-26 Music Theatre, Imig Music Building Monteverdi’s drama about sex, crime and realpolitik during the debauched reign of the Roman Emperor Nero, turning conventional morality on its head—virtue is punished and greed rewarded. Sung in Italian with English surtitles. This production will be styled after the hit Netflix realpolitik series House of Cards, starring Kevin Spacey.
COSÌ FAN TUTTE
The nation’s second-oldest Shakespeare festival raises the curtain June 5 for its exciting 2015 season. CSF is a unique Boulder experience you won’t want to miss — magic, mirth, mayhem … and mountains. Go to coloradoshakes.org for more information and tickets. of philosophy — and ego — the freethinking MUCH ADO ABOUT NOTHING HENRY V skeptic Dr. Faustus and stuffy, guilt-ridden June 5-Aug. 9 July 16-Aug. 9, University Theatre Martin Luther. Punny, funny, brainy and zany, Directed by Carolyn Howarth, director of Mary Rippon Outdoor Theatre David Davalos’ ingenious mashup is equal parts CSF’s 2014 Henry IV, Part 1 Directed by Jim Helsinger, Orlando Tom Stoppard, campus caper and metaphysical England’s crown rests on the head of the once Shakespeare Theater mind-trip. wild and undisciplined acolyte of Falstaff, Romantic, raucous and razor-sharp, the Hamlet Prince Hal, now a wise and noble monarch of Shakespeare comedies strikes hilarious chords OTHELLO leading his country into war with France. even as it reveals timeless truths about love, change Rousing and cinematic in scope, Henry V raises and acceptance. The men have returned victorious June 26-Aug. 8 Mary Rippon Outdoor Theatre compelling questions about leadership in a from war, but the merry sparring — and sparks Directed by Lisa Wolpe, Los Angeles troubled world that powerfully echoes our own. — between Benedick the stubborn bachelor and Women’s Shakespeare Co. With this production, CSF completes the fourwitty, self-assured Beatrice have just begun. In a country at war, Othello the Moor play Henriad history cycle begun in 2013. commands with authority and nobility of spirit, WITTENBERG drawing strength from his bold and beautiful HENRY VI, PART 1 June 11-Aug. 8 (Colorado premiere) wife, Desdemona. But he has placed his trust in Aug. 2 and 5 , University Theatre University Theatre one of Shakespeare’s most sinister villains, Iago, Back by popular demand, CSF presents two Directed by CSF Producing Artistic Director who would sow seeds of doubt and destruction exclusive, “original practices” performances of Timothy Orr in the garden of their love. Passion, jealousy and the rarely produced saga of Henry V’s son. Last To believe or not to believe? That is the question murder explode in a sexy theatrical thriller that seen onstage at CSF in 1967, the play features when Prince Hamlet, a dazed-and-confused tumbles toward a diabolical finale one of Shakespeare’s most intriguing females, senior at Wittenberg University, circa 1517, Joan of Arc. Both 2014 “OP” shows sold out, is caught in the crossfire between two giants so buy your tickets early! 8 |
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Tomorrow’s talent is onstage today with a wide variety of performances from CU students and faculty. For detailed ticket and event information go to www.colorado.edu/theatredance.
JESUS CHRIST SUPERSTAR
Lyrics by Tim Rice, music by Andrew Lloyd Webber, Directed by Cecilia Pang April 10-19, University Theatre Ever since the controversial rock opera by Andrew Lloyd Webber and Tim Rice was released as a concept album in 1970, it has enflamed the passions of critics and fans alike. The story of Jesus of Nazareth during his final days, this high-energy, immensely popular show plunges deep into the hearts of the men and women, from Judas Iscariot to Mary Magdalene to Pontius Pilate, who played a part in one of the most momentous stories ever told.
THE CURRENT
April 17-19 Charlotte York Irey Theatre A showcase of vital new works by CU dance faculty and Millicent Johnnie, the 2014-15 Roser Guest Artist in Dance. Johnnie has performed with Urban Bush Women, Cleo Parker Robinson Dance Ensemble, Hubbard Street Dance Chicago and choreographed for Grammy Award-winning artists Usher Raymond, Chrisette Michele and Los Hombres Calientes.
The Grammy Award-winning quartet— Edward Dusinberre, violin; Károly Schranz, violin; Geraldine Walther, viola; and András Fejer, cello—has been selling out concerts for three decades at CU-Boulder with an irresistible blend of viruosic technique and engaging personalities. Each season includes a concert by a special guest. All Takács performances take place in Grusin Music Hall. Takacsquartet.com
TAKÁCS QUARTET
Sunday, April 26, 4 p.m. Monday, April 27, 7:30 p.m. Haydn — String Quartet in B flat major; Carter Pann — String Quartet No. 2 – Operas; Cesar Franck — Piano Quintet in F minor (with David Korevaar, piano)
SPRING SWING
Sunday, April 12, 2 p.m. Macky Auditorium Join the CU Concert Jazz Ensemble and guest artists for a swinging return to the Big Band era. The program will feature music from the ensemble’s new recording, a tribute to the greatest bands and composers of the era, including Benny Goodman, Glenn Miller, Duke Ellington, Count Basie and more.
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SPOTLIGHT
Jesus Christ Superstar changed Boulder’s theater scene in 1970s Andrew Lloyd Webber and Tim Rice’s monumental rock opera Jesus Christ Superstar, first recorded as a concept album in 1970 and produced on Broadway the following year, changed the face of musical theater—and Boulder’s theater scene.
CU Theatre presents
Jesus Christ Superstar
The musical was popular—and controversial—from the start. Based on the Gospel of John, its doubting Jesus, tortured Judas, sympathetic Pilate and scheming priests, it was banned and drew protests and charges of anti-Semitism. Yet millions of fans, believers and non-believers alike, made it one of the most beloved musicals in history.
A rock opera By Andrew Lloyd Webber and Tim Rice
April 10-19
University Theatre
A few facts about the show’s history in Boulder and beyond: The original recording featured Ian Gillan of Deep Purple as Jesus, future disco star Yvonne Elliman as Mary Magdalene and glam rocker Gary Glitter as a priest. n The original Broadway production won six Tony Awards, including best score. n At the time of its first closing, Superstar was the longestrunning musical in the history of London’s West End.
Tickets $19, available at colorado.edu/theatredance/events or by calling 303-492-8008
n
The show has been banned by the BBC, South Africa, the Soviet Union and as recently as 2012 in Belarus and Russia. n Many famous entertainers have done the show, including Alice Cooper and Jack Black as King Herod, Ben Vereen and the Who’s Roger Daltrey as Judas, and the Indigo Girls’ Amy Ray as Jesus. n A 17-year-old John Travolta didn’t get the part when he auditioned for Jesus in the 1973 film version, but producer Robert Stigwood soon made him a star in Saturday Night Fever. n Boulder High School’s 1976 production, directed by Ross Haley, remains the only show at the school ever to be held over for encore performances. n CU Presents Executive Director Joan McLean Braun and Lissy Garrison, Assistant Dean for Advancement at the College of Music, played in the orchestra for the BHS production. n Keith Hurdle, owner of Artist Series sponsor Hurdle’s Jewelry, played Peter. n Matthew Monfort, who played live electric guitar, is listed as one the 100 greatest acoustic guitarists by Digital Dream Door alongside such notables as Doc Watson and Joni Mitchell. n Haley and some parents of students in the show started Boulder’s Dinner Theatre in 1977. n Michael Duran, who played Jesus in BDT’s 1978 Superstar, is now directing producer. n
JUNE 5 - AUG. 9 , 2015
MUCH ADO
ABOUT NOTHING
OTHELLO WITTENBERG
HENRY V
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SPONSOR
s
Jesus Christ Superstar Lyrics by Tim Rice Music by Andrew Lloyd Webber
April 10-19
University Theatre Tickets start at $19
colorado.edu/theatredance 303-492-8008
SPONSOR
Congratulations to the University of Colorado College of Music, whose efforts have brought entertainment, learning, melody, percussion and passion to our community. We’re proud to sponsor the University of Colorado College of Music.
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SPOTLIGHT
2015 Colorado Shakespeare Festival features fan favorites, young stars and an Emmy Award winner The Colorado Shakespeare Festival’s 58th annual season opens June 5 with a professional acting company that includes television and film veteran Peter Macon, as well as perennial favorites and fresh new faces. Macon will star eponymous nobleman in Othello, reprising a role he played at the Oregon Shakespeare Festival (2008) and Minneapolis’ prestigious Guthrie Theater (2014). In addition to treading the boards on and off Broadway, his film and television credits include roles on Dexter, The Shield and Law and Order. He received a 2002 Emmy Award for his voiceover performance on Animal Tales of the World. “Macon … possesses the kind of deep voice that sounds like it comes direct from Olympus,” writes the St. Paul Pioneer-Press. CSF’s 58th annual season lineup also includes Much Ado About Nothing in the incomparable Mary Rippon Outdoor Theatre, the Colorado premiere of the comedy Wittenberg— “Hilarity, thy name is Wittenberg,” The New York Times says of this zany, brainy 15th-century campus caper—Henry V and two “original practices” performances of Henry VI, Part 1.
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BACKGROUND IMAGE: PHOTO BY ZACHARY ANDREWS/COLORADO SHAKESPEARE FESTIVAL
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Boulder Arts Week March 27– April 4, 2015
This citywide event will highlight Boulder’s distinguished arts and cultural programming and will include art walks, exhibitions, performances, dance, music, theater and artist demonstrations. Find all the details at: boulderartsweek.org
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Other highlights of the 2015 acting company include: n CSF favorite Geoffrey Kent as as Macon’s sinister foil Iago n Denver Center favorite Lawrence Hecht—last seen at CSF as a hilariously tawdry Puck in A Midsummer Night’s Dream—as freethinking Dr. Faustus in Wittenberg n Laura Baranik, veteran of the stage in Prague and New York, as Othello’s wife Desdemona n Benjamin Bonenfant as Henry V, continuing the role he played in Henry IV, parts 1 and 2 in 2014 n Many other favorites, including Jenna Bainbridge, True West and Henry award winner Sean Scrutchins and the Denver Center’s “man of a thousand faces,” Rodney Lizcano n Learn more at coloradoshakes.org Tickets are on sale now for CSF’s 2015 season at coloshakes.org and 303-4928008.
PETER MACON AS OTHELLO, GUTHRIE THEATER, 2014 PHOTO BYJOAN MARCUS/ GUTHRIE THEATER
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HIGH SCHOOL
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We give students choices in the programs they take and class work. In exchange, we require that all students do high quality work and earn a grade of A or B in core classes.
HIGH SCHOOL
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New Vista High School opened in ‘93 with a ATTORNEYS AT LAW mission “to break the mold” of conventional secondary school practices. We provide • Business Formation • Employment Law • Public Utility Law rigorous learning in a supportive culture. Our • Real Estate Siena Square Building • Business Purchase • Energy Law curriculum the unique • Title Insurance & Sale is designed to• cultivate Estate Planning 2060 Broadway, Suite 400 talents and interests of students who are ready • Trust & Estate • Civil Litigation & Administration Boulder, Colorado 80302 & more Appeals • Intellectual to be responsible for their ownProperty learning. Litigation Phone 303.447.1375 • Construction Law • Land Use & Zoning • Water Law www.dietzedavis.com • Divorce/Family Law • Local Government Law We give students choices in the programs they take and class work. In exchange, we Serving require that all students do high qualitythe workWest from Boulder since 1972 and earn a grade of A or B in core classes.
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HIGH SCHOOL
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E K L U N D O P E R A P R O G R A M — CosÏ f a n t u t t e M a r c h 1 3 - 1 5 , 2 0 1 5
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Violin 1 Summer Lusk Nathan Southwick Marisa Ishikawa Lauren Pokorzynski Tracy Viator Esther Hou Stephanie Yu Allison Charles Violin 2 Ryan Foley Danielle Heath Krystian Salva Crystal Schneckenburger
Assistant Conductor Asst. Technical Director Chorus Master Assistant Director Fight Choreographer Rehearsal Pianists Costume Assistant Hand Prop Master Makeup Designer Assistant Stage Manager Hair Design Opera Teaching Asst. Production Assistant Supertitle Operator Supertitles provided by
Lea Mattson Kristen Demaree
Orchestra Bass Aidan Cook Selyne Tibbets-Pagan
Viola Bergen Christensen Allyson Stibbards Amelia James Mercedes Quintana Cello Ethan Fallis Cecelia Swanson Ryan Farris Dakota Cotugno
Flute Colleen White Edna Jeon Clarinet Jacob Eichhorn David Leech Oboe Kelly Smestad Andrew Iannuccillo
Production and Technical Staff Joshua Horsch Carpenters Jeffrey Rusnak Jason St. Claire Charles Daniel Properties Master Benaiah Anderson Scenic Artists Emily Alley, Alaina DeBellevue, Deborah Hui Scenic Assistant Alison G. Milan Deck Crew Supervisor Tom Robbins Macky ASM and Sound Jeannete Hickok Master Electrician Lane Melott, Kristyn Spot Operators Christman-McCarty Sarah Opstad Pit Manager James Held Rail Operator Chris Martin Recording Engineer Alyssa Muir Piano Technician Jeremy Sortore
Bassoon Daniel Nester Michelle Gaffney Horn Angela Fiorini Jonathan Spoon Trumpet Julianna Chairez Matt Koveal Timpani Derek Frank Harpsichord Continuo Joshua Horsch Cooper Braun-Enos, Dan Sjastaad, Ben Smith, Myles Blaske, Robin Reid Tom Robbins Christina Lauitsen, Jennifer Melcher Caitlin Goldstein Jeff Rusnak Rhett Snyder Cooper Braun-Enos Jennifer Melcher, Chris Evans Brian Logan Ben Smith Kevin Harbison Ted Mulcahey
CU Presents Dean, College of Music Robert Shay Executive Director Joan McLean Braun Operations Manager Nick Vocatura Marketing Director Laima Haley Communications Director Clay Evans Marketing and Public Relations Coordinator Daniel C. Leonard Publications Coordinator Mel Plett Graphic Designer Karen Schuster Public Relations Assistants Rachel Dodson, Emily Scraggs, Helen Slivinski Production Assistant Margaret Romero Box Office Manager Andrew Metzroth Box Office Services Manager Michael Casey Box Office Assistants Ciara Glasheen-Artem, Sydney Bogatz, Starla Doyal, Photography Lucas Munce, Melanie Shaffer, Bradley Steinmeyer Macky Auditorium Staff Director Rudy Betancourt Operations Manager John Jungerberg Assistant Director Sara Krumwiede Technical Director JP Osnes Assitant Technical Director Rhett Snyder House Manager Rojana Savoye Assistant House Manager Nicole Anderson Program editor: Clay Evans | Cover design: Karen Schuster | Program insert: Mel Plett
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Synopsis Naples, 1959. Two young officers, Ferrando and Guglielmo, boast about the beauty and virtue of their girls, the sisters Fiordiligi and Dorabella. Their friend, the cynical Don Alfonso, declares that a woman’s constancy is like the phoenix—everyone talks about it but no one has ever seen it. He proposes a bet: if they’ll give him one day and do everything he asks, he will prove to them that the sisters are unfaithful, like all other women. Amused, the young men agree. Fiordiligi and Dorabella think of their lovers, imagining that they will soon be married (Duet: “Ah, guarda sorella”). Alfonso’s plot begins when he arrives with terrible news: the young officers have been called away to their regiment. Ferrando and Guglielmo appear, apparently heartbroken, and the four make tearful farewells. As the soldiers leave, the two women and Alfonso wish them a safe journey (Trio: “Soave sia il vento”). The sisters’ maid Despina complains about how much work she has to do around the house. The girls enter and Dorabella vents her despair (“Smanie implacabili”). Despina refuses to take them seriously:
they should simply find new lovers, since men are unworthy of a woman’s fidelity (“In uomini, in soldati”). Fiordiligi and Dorabella are shocked. Alfonso arrives and bribes Despina to assist him, without revealing his plot. Ferrando and Guglielmo enter, disguised as “Albanians,” and declare their admiration for the ladies, each addressing the other’s girlfriend. The sisters firmly reject their advances, Fiordiligi comparing her constancy to a rock in a storm (“Come scoglio”). The men are confident of winning the bet. Ferrando expresses his love for Dorabella (“Un’aura amorosa”), and the two friends leave. As the sisters continue to lament the absence of their lovers, the “foreigners” return, pretending to have poisoned themselves in despair over their rejection. Despina and Alfonso go off to fetch help, leaving the two girls to care for the strangers, who find the situation highly amusing. Despina reappears disguised as a doctor and pretends to draw out the poison with a magnet. When Ferrando and Guglielmo request kisses in order to fully recover, the sisters again reject them, but it is clear they’re beginning to show interest in the strangers.
Act II Despina lectures her mistresses on how to handle men (“Una donna a quindici anni”) and the sisters agree that there can be no harm in a little flirtation. They decide on their partners, each picking the other’s suitor. Guglielmo, flirting with Dorabella, succeeds in replacing her locket from Ferrando with his own gift (Duet: “Il core vi dono”). Ferrando has less luck with Fiordiligi, but when he has left, she struggles with her emotions (“Per pieta, ben mio”). Ferrando is certain that they have won the wager. Guglielmo is happy to hear that Fiordiligi has been faithful to him, but when he shows his friend the locket he took from Dorabella, Ferrando is furious. Guglielmo, adopting Alfonso’s philosophy, blames it on the women (“Donne mie, la fate a tanti!”). He asks Alfonso to pay him his half of the winnings, but Alfonso reminds him that the day is not yet over. Dorabella admits her fling with the foreign lover and Fiordiligi reproaches her sister for her behavior, but
Dorabella replies that love is a thief who rewards those who obey him (“È amore un ladroncello”). Alone, Fiordiligi decides to join Guglielmo at the front, when suddenly Ferrando appears. He tries one last time to seduce her and succeeds. Guglielmo is furious, but Alfonso again declares that this is the way women are. A man who has been deceived can blame only himself. The sisters have agreed to marry the “foreigners.” Everything is ready and Alfonso arrives with the notary—Despina in another disguise. As Fiordiligi and Dorabella sign the contract, military music announces the return of their former lovers. In panic, they hide their intended husbands, who return as their real selves, first pretending surprise at their reception, then, when they discover the marriage contract, blaming the girls and threatening revenge. Finally, the men reveal their disguised identities and the sisters are dumbfounded. Alfonso bids the lovers learn their lesson. — Metropolitan Opera
E K L U N D O P E R A P R O G R A M — Così f a n t u t t e M a r c h 1 3 - 1 5 , 2 0 1 5
Act I
E K L U N D O P E R A P R O G R A M — Così f a n t u t t e M a r c h 1 3 - 1 5 , 2 0 1 5
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From Stage Director Leigh Holman, Director of the Eklund Opera Program
Così fan tutte is one of the brightest stars in the operatic Milky Way. It is a work to which singer/ actors, directors and conductors are almost universally drawn. Mozart’s music uniquely portrays each individual character and says so much about what these people are feeling at any given moment (which only makes a director's job easier!) This is my first time stage directing a full production of Così fan tutte. I’ve had the opportunity to sing Dorabella, direct an abridged version and countless scenes programs, but directing a complete production signifies a milestone in my creative life. With this daunting challenge, I had to decide just how to approach it. Some operagoers who have attended traditional productions of Così have told me they felt the comedy was sometimes lost on first-time audiences. My hope was to bring that aspect of the production to the forefront without distracting from the musical distinction. I knew that conductor Maestro Nicholas Carthy would nurture the music, bring out the complex characters in the arias and ensembles, and teach our students to finesse their parts with grace. I had no doubt that we would be able to From Music Director Nicholas Carthy Così fan tutte, the third and final collaboration between Mozart and Lorenzo Da Ponte, has not always been recognized as the masterpiece that it is, and has spent much of its life on the receiving end of some very harsh criticism. Audiences in Vienna and elsewhere were perplexed by its lack of a conclusive ending, and Wagner, for example, not only considered it
pull together a balanced production of musical sensitivity, passion, anger and jealousy-but could I pull off the comedy convincingly and with a gentle hand? I decided to investigate an alternate time period for our production. As an only child, I grew up watching Saturday afternoon television in the home-entertainment section of my Dad’s Ben Franklin dime store while my parents worked. I was introduced to movie musicals, mysteries, the great classic films and the wonderful romantic comedies of the 1950s and ‘60s. Great films starring Doris Day, Rock Hudson, Marilyn Monroe, Jack Lemmon and Tony Curtis made a tremendous impact on me. I saw parallels in these films and Mozart’s classic, so we decided that our Così could be loosely inspired by the 1959 Rock Hudson-Doris Day film, Pillow Talk. I remember my mother saying that in many movie houses in the south where I grew up, this movie, so benign to us today — charming even—was banned in movie theaters. The sexual innuendo was alarming to audiences. The seemingly good girl, Doris Day (tempted by sexy Rock) was becoming somewhat “unbuttoned.” Così was not considered racy at its premiere in 1790, but in the 19th and 20th centuries it raised some eyebrows. Thank you to set designer and lighting designer Peter Dean Beck, costumer Tom Robbins (who has a real flair for this time period), Ron Mueller, Hally Albers and the rest of the team that worked on this piece. My hope is that we made it come to life for you and have offered an entertaining diversion—shared through the sublime music of Mozart. a poor piece of music, but also thought the story shamefully immoral. Most commentators, however, simply criticized Da Ponte’s libretto as being an unworthy vehicle for Mozart’s music, some even suggesting that Mozart must have been coerced into writing it. In fact Mozart, much more so than in The Marriage of Figaro or Don Giovanni, uses Da Ponte’s libretto merely as a starting point, inserting his own depth and structure into the plot, and leading us into a much more complex world of human emotion than Da Ponte ever envisaged, shaping a psychological drama with
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Così fan Tutte is the synthesis of 18th-century opera. It embodies many aspects of both opera seria and opera buffo (there are many passages in Così that remind us of Idomeneo), and it acts as a way marker for the great operas of the 19th century: Without Così it is hard to imagine Fidelio. Leonore’s aria, “Komm’, Hoffnung” has obvious roots in “Per pieta,” Fiordiligi’s second act aria. In Così, Mozart also further develops the idea of thematic unity, something he touched on in Don Giovanni. This idea of melodic representation, where characters and ideas have their own musical themes—a sort of rudimentary leitmotif—was something that Wagner (ironically, given his supposed hatred of the piece) would develop and use to great effect in his own operas. Even in the overture Mozart shows us the significance of leitmotif to the plot. There is a distinct Così fan Tutte leitmotif, (it also appears, sung, later in the opera) which makes two appearances; and one of the main themes of the overture is actually derived from a tiny quote from Figaro: the moment in the first act trio where the Count discovers Cherubino hiding in Susanna’s chamber, where Basilio sings the words: “Così fan tutte le belle.” There are countless examples of Mozart using musical phrases to show the psychology of the various characters. When Ferrando sings his first act aria, “Un aura amorosa,” the words would have us believe that he is singing about his love for Dorabella, his fiancée; but Mozart insinuates a theme from Fiordiligi’s aria “Come scoglio” into his aria, showing us a far more ambiguous set of thoughts. The main theme of this aria
(where Fiordiligi compares her faithfulness to a rock, able to weather all storms) also makes a number of appearances, always at moments of high drama; the last time it is heard is just before the metaphorical rock crumbles, and Fiordiligi finally capitulates to Ferrando. In the finale, when Don Alfonso has reunited everyone and explained everything, we have the standard comic-opera ending where all is forgiven, and the words tell us that, having learned their lesson, our protagonists will all live happily ever after. But if you listen carefully to Mozart’s music, you can hear Fiordiligi and Ferrando still flirting together. Is this the end of their affair? Do they all live happily ever after? And, most importantly: do they go back to their original partners? These and many other questions are deliberately left unanswered. Da Ponte’s attempt at a traditional fairy-tale conclusion is gleefully undermined by Mozart’s wise observation that endings tend not to be as cut and dried as we would maybe like them to be, and that not all stories can end with their shoelaces neatly tied. Certainly our quartet of lovers are all changed, and chastened, by the discovery that it is possible to be in love with one person, and yet attracted to another. Così fan tutte reminds us, as all great masterpieces do, that the human condition, with all its conflicting emotions and its foibles, is as universal as it is eternal; that from Ovid, through Boccaccio and Shakespeare, all the way to the banality of TV reality shows, every era has the same stories to tell. It is in the telling of these stories that we remind ourselves of the necessity of never taking love, or life, for granted.
The Company Hally Albers (Production and Stage Manager) Hally Albers is a stage management instructor at Colorado State University and University of Northern Colorado. She has been a stage manager with the San Francisco Opera, Spoleto Festival, Los Angeles Opera, Opera Fort Collins and the Central City Opera. She has been assistant stage manager with the Santa Fe Opera and Houston Grand Opera.
Peter Dean Beck (Set and Lighting Designer) Peter Dean Beck has been with CU’s Eklund Opera Program for 21 seasons. His past productions include La Traviata, Don Giovanni, Candide, Carousel, Dead Man Walking, Susannah, West Side Story, La Boheme, The Magic Flute, Hansel and Gretel and The Elixir of Love. His other professional credits include the Hawaii Opera Theatre, Arizona Opera, Atlanta
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a cohesion of form, motive and key-structure that is unique for its time.
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Opera, Skylight Opera Theatre, Edmonton Opera, Virginia Opera, Chautauqua Opera (New York), Opera Hong Kong and the Florida State Opera. Nicholas Carthy (Music Director/Conductor) In his eleventh season with the Eklund Opera Program, Nicholas Carthy studied at the Mozarteum in Salzburg, Austria and made his conducting debut there at the Landestheater in Le nozze di Figaro. 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 Colorado Symphony Orchestra, 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, Bolshoi Theatre, and the Musikverein Vienna. He is music director of the Helgeland Sinfonietta in Norway, and performs chambermusic every summer with his wife and extended family in Reno and Susanville, California. Sophia Dove (Chorus/Cover of Despina) Sophia Dove’s credits at the Eklund Opera Program include the role of Sandman in Hänsel und Gretel, chorus in Le Nozze di Figaro and Falstaff, a Ward in The Pirates of Penzance and the cover of Elvira in L’italiana in Algeri. Her other credits include chorus in Tosca (Cedar Rapids Opera Theater) and Zerlina in Don Giovanni (Taos Opera Institute). Frank D. Fainer (Guglielmo) Frank D. Fainer’s credits with the Eklund Opera Program include The Pirate King in The Pirates of Penzance, Stevie in Side By Side by Sondheim, Schaunard in La Bohème and Jesus in Godspell (Scottsdale Community College). James Held (Guglielmo) James Held’s Eklund Opera Program credits include The Pirate King in The Pirates of Penzance, The Father (Peter) in Hänsel und
Gretel and Alcindoro in La Bohème. Other credits include Il Sagrestano in Tosca (Colorado Symphony) Creonte in Cherubini’s Medea (University of Wisconsin-Madison), Leporello in Don Giovanni, Flynt/Gremio in Kiss Me, Kate, Sid in Albert Herring and Dick McGann in Street Scene (Seagle Music Colony). He has now premiered two operas, performing the role of Hendrik Christian Andersen/Hammond in The Master (CU New Opera Workshop) and The British Guy in Wired for Love (Madison New Muse). He was featured in two Faculty Tuesday recitals at CU-Boulder, with Erika Eckert, professor of viola, and Margaret McDonald, professor of collaborative piano. Held is a member of CU-Boulder’s opera outreach group and the Opera Theatre Singers, and is also the opera TA at CU-Boulder. He received his BM in vocal performance from the University of Wisconsin-Madison, where he studied under baritone Paul Rowe. Held is a second-year MM vocal performance student, studying with Patrick Mason. Nadya Hill (Despina) Così fan Tutte marks Nadya M. Hill’s first performance with the Eklund Opera Program. Other credits include The Duchess in Gondoliers (University of Michigan Gilbert and Sullivan Society), Third Lady in Die Zauberflotte and Third Spirit Sister in Little Women (University of Michigan), chorus in Don Giovanni (Arbor Opera Theater), solo performances with the Grand Rapids Symphony, Colorado Symphony’s “Drums of the World”, Greeley Chamber Orchestra, Evergreen Chamber Orchestra and Mercury Ensemble, as well as a Grammy nomination for her work with Bill Hill and Friends in 2012. In 2011, Hill received two BM degrees in vocal performance and violin performance, both with highest honors, from the University of Michigan. She is currently a first year MM student in vocal performance studying with Jennifer Bird-Arvidsson. Michael Hoffman (Ferrando) Michael Hoffman’s previous engagements include Spoletta in Tosca (Colorado Symphony Orchestra, 2015), Dreuet/George Jr. in a workshopped performance of Sister Carrie (Florentine Opera Company, 2014), chorus in Così fan tutte, Die Zauberflöte, Parables, The Bartered Bride, Die Fledermaus (University of
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Leigh Holman (Resident stage director/classroom teacher/ Director of Opera Studies) Leigh Holman, balances her teaching and professional stage directing career in the U.S. and abroad. Companies include Opera de Montreal, Florida Grand Opera, Opera Futura (Italy) and others. As well suited to new operatic works as she is to traditional works, she has produced and directed workshops of operas in association with internationally noted opera composers, including Libby Larsen, Herschel Garfein, Lori Laitman, Robert Aldridge, Daniel Kellogg and Kirke Mechem. As founder of CU NOW (New Opera Workshop), she continues to passionately promote the creation, collaboration and production of new American works. Joshua Horsch (Assistant Conductor/Harpsichord) Joshua Horsch’s current musical positions include assistant conductor/vocal coach for Opera Saratoga, assistant/cover conductor for the Boulder Philharmonic Orchestra, assistant conductor/rehearsal pianist for Fort Worth Opera, co-music director/conductor of the CU Campus Orchestra and assistant conductor of the CU Symphony and Chamber Orchestras. Recent positions include guest music director for the Eklund Opera Program’s production of Side by Side by Sondheim, assistant chorus master for the Colorado Music Festival, conductor/ pianist for CU New Opera Workshop, conductor/ pianist for the Newport Music Festival and staff music director/conductor for the Boston Opera Collaborative. Guest conducting engagements include concerts with Las Orquestas Sinfónicas de Tarija and the Lyatoshinsky Chamber Orchestra of Ukraine. His workshop conducting has included the Baltimore Symphony Orchestra and the Oregon Bach Festival Orchestra and Chorus. Joshua received a MM degree in orchestral conducting from the Pennsylvania State University and a BM degree in piano performance from Ithaca College.
Max Hosmer (Ferrando) Max Hosmer’s Eklund Opera Program credits include Rodolfo in La Bohème, Frederic in The Pirates of Penzance, Henry James in The Master, Bruce in Side by Side by Sondheim, Laurie in Little Women, Fenton in Falstaff, Calvin O’Keefe in A Wrinkle in Time, Sellem in The Rake’s Progress, Eduardo in La Cambiale di Matrimonio, Rinuccio in Gianni Schicchi, Lefty Calibrin in Ludlow and Don Basilio/Don Curzio in Le Nozze di Figaro. His other credits include Spoletta in Tosca (Townsend Opera Players), Fenton in Falstaff (Emerald City Opera) and Gastone in La Traviata (Townsend Opera Players). His honors and awards include the Bernard Polak Memorial Award, the Myrle F. Hoffman Award from the Denver Lyric Opera Guild Competition and 2nd place in Division II of the National Opera Association Collegiate Opera Scenes Competition. Hosmer is a student of Patrick Mason and Matthew Chellis. Rebecca Kidnie (Fiordiligi) Rebecca Kidnie’s other roles with the Eklund Opera Program include Die Mutter in Hänsel und Gretel and Drusilla in the upcoming L’incoronazione di Poppea. Her other credits include La Ciesca in Gianni Schicchi (PORTopera), Alice Ford in Falstaff (Janiec Opera Company), La Contessa in Le Nozze di Figaro (Moores Opera Center) and Marianne Leitmetzerin in Der Rosenkavalier (MOC). Kidnie was the 2014 winner of the Denver Lyric Opera Guild and has thrice been recognized by the Metropolitan Opera National Council auditions with Encouragement Awards (Houston District 2012, Denver District 2014, Iowa District 2015). Upcoming engagements include an Apprentice Artist position with the Des Moines Metro Opera Company, where she will cover Kostelnička in Jenůfa. Meagan Mahlberg (Mabel) Meagan Mahlberg’s credits with the Eklund Opera Program include Countess in Le Nozze di Figaro, Marcellina in Le nozze di Figaro, Susannah in Susannah, Violetta in La Traviata, Elvira in Don Giovanni and Queen of the Night in The Magic Flute (which she also performed for a benefit concert with the Boulder Youth Symphony), Elektra in Idomeneo, Echo in Ariadne auf Naxos and Bianca in The Rape of Lucretia. Her other credits include Vanessa in Vanessa (Boulder Opera), Hetty in The Clever Artifice of Harriet
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Minnesota, 2009-2014) and Policeman in The Pirates of Penzance (University of Colorado Boulder, 2014). Hoffman is a first year MM vocal performance student studying with Patrick Mason and earned his BM vocal performance degree from the University of Minnesota in 2014.
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and Margaret (world premier for composer Leanna Kirchoff) and Suor Angelica in Suor Angelica (Opera Oggi, New York). She earned her MM in voice performance and BM in voice performance from at CU-Boulder, where she is pursuing a performance certificate and studying with Jennifer Bird-Arvidsson. Ron Mueller (Technical Director) Ron Mueller has been with the Eklund Opera Program for 17 seasons. Past opera productions include La Traviata, West Side Story and Dead Man Walking. His other professional credits include Skylight Opera, University of WisconsinMilwaukee, Colorado Shakespeare Festival and Boulder’s Dinner Theatre. Tom Robbins (Costume Designer) Tom Robbins has been with the Eklund Opera Program for 23 seasons. His past credits include Don Giovanni, Anything Goes, Susannah, Carousel and The Rake’s Progress. His other professional credits include Bonfils Theater, Opera Colorado and the Colorado Ballet. Becky Robinson (Dorabella) Becky Robinson’s previous credits include Romeo in I Capuleti ed i Montecchi, Hermia in A Midsummer Night’s Dream, Sesto in Giulio Cesare, Erminella in the Canadian premiere of John Musto’s Volpone, the title role in Handel’s Rinaldo (Opera McGill) and Hansel in Hänsel und Gretel (Brevard Music Center). She will also appear as Ottone in the Eklund Opera Program’s production of L’incoronazione di Poppea in April. A student of Abigail Nims and Matthew Chellis, Ms. Robinson is in the first year of the Performance Certificate program. She holds a Master’s degree from McGill University in Montreal, Quebec, and a Bachelor’s from DePaul University. Megan Schirado (Dorabella) Megan Schirado’s Eklund Opera Program credits include Kate in The Pirates of Penzance, Hänsel in Hänsel und Gretel, chorus in La Bohème and Maggie in The Clever Artifice of Harriet and Margaret. Her other credits include Meg
Page in The Merry Wives of Windsor/Falstaff (Johanna Meier Opera Theatre Festival) and Dido and Aeneas (Northern State University). She earned first place in the 2013 National Association of Teachers of Singing competition and has performed “Parto, ma tu ben mio” from La Clemenza di Tito as a guest soloist with the NSU Civic Symphony Orchestra. Schirado is currently an MM student at CU-Boulder. Jason St. Claire (Chorusmaster/Billiardsman) Così fan tutte is tenor Jason St. Claire’s first performance with the Eklund Opera Program. He is currently pursuing a Doctor of Musical Arts in choral conducting at CU-Boulder, studying with Gregory Gentry. Prior to coming to CU-Boulder, he lived in Omaha, where he taught voice to students of all ages, as well as K-12 choral and music classes to inner city students. St. Claire received his Master of Music degree from the University of Nebraska and his Bachelor of Music Education degree from Arizona State University. Luke Williams (Don Alfonzo) Luke Williams’ Eklund Opera Program credits include the Sergeant in The Pirates of Penzance, Pistola in Falstaff and Father Trulove in The Rake’s Progress. His other credits include Lucas in The Student Prince, Lodovico in Otello, Sciarrone in Tosca (Utah Festival Opera), Marco in A View from the Bridge, Superintendent Budd in Albert Herring (Indiana University) and Angelotti in Tosca (Opera Delaware). Williams is a student of Patrick Mason. Sara Lin Yoder (Despina) Sara Lin Yoder’s previous roles include Consiglio in Rappresentatione di Anima, et di Corpo (Gregorian Singers), Nanetta in Falstaff, Susi in Die Fledermaus, and chorus in Die Zauberflöte and Rosencrantz and Guildenstern are Dead (University of Minnesota-Twin Cities). Yoder received her BM in vocal performance from the University of Minnesota-Twin Cities studying with Wendy Zaro-Mullins. She is a first-year MM vocal performance student at the University of Colorado Boulder, studying with Jennifer BirdArvidsson.
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Thompson Jazz Studies Program
The Thompson Jazz Studies Program at the CU-Boulder College of Music, started in 1996, was named in honor of Jack and Jeannie Thompson in 2013. The program features three big bands and seven jazz combos, which perform dozens of public concerts a year, as well as residencies, performances and clinics by prominent jazz artists. Participants have been recognized numerous times in DownBeat Magazine’s Annual Student Music Awards. BENEFACTOR Joseph and Becky Negler Jack and Jeannie Thompson PATRON J. Michael Dorsey and Carolyn Buck Martha and Alan Stormo SUPPORTER Leslie and Henry Eaton Gretchen King
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CONTRIBUTOR Marc and Joan Buie Daryl and Kay James Robert and Francine Myers Joseph and Linda Paule Suzanne and Robert Plush Frank and Maureen Spaid Peter Wall
MEMBER William and Rebecca Brookhart Donald and Martha Deutsch Frances Evans William and Ruth Frye Gregory and Gladeane Lefferdink Marian Matheson Derek Matsunaga Linda and Michael McLane Claudia Mills Gary and Brooke Palumbo Brenda Parolini and Richard Miller Gail Promboin and Robert Burnham Andrew Rogowski Carolyn Santangelo and Scott May Stephen and Amy West
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To learn more about giving to the Thompson Jazz Studies program, call 303-735-6070 or email jeni.webster@colorado.edu.
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Faculty Tuesdays
Faculty Tuesday recitals are held at 7:30 p.m. in Grusin Music Hall in the Imig Music Building at CU-Boulder unless otherwise noted. These free performances are held throughout the academic year and open to the public.
MARCH 17
Daniel Kellogg, composer, Bjorn Arvidsson, librettist and tenor, Hsing-Ay Hsu, piano, and singers
World premiere of Packer, a one-act chamber opera about the infamous Alferd Packer, who was convicted of murdering and eating five men he was guiding through snowy mountains near Montrose, Colorado in 1874.
RICHARD TOENSING
MARCH 31
Christina Jennings, flute, David Korevaar, piano, Daphne Leong, piano, and Allan McMurray and the Wind Symphony, with guests Julie Simson, Matthew Dane, James Buswell and Carol Ou
Richard Toensing Memorial Concert The College of Music will present a concert to commemorate the life and work of CU Emeritus composer and past chair of the Composition Department Richard Toensing, who died in July.
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INSPIRING PERFORMANCES by WORLD-CLASS FACULTY in an UNMATCHED MOUNTAIN SETTING
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There’s no place like home.
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here’s something special about life at Frasier. And it’s reflected in the smiling faces and close connections you’ll see everywhere on our spacious, graceful campus. Is it our stellar setting, close to all the best Boulder attractions? Our gorgeous selection of living spaces and long list of amenities and activities? The sense of belonging to a spirited community of friends and family? The opportunity to pursue new passions? Or the peace of mind that comes from our continuum of on-site-care? Whatever the reason, one thing is certain: no place compares to home sweet Frasier.
Our new, specially designed Assisted Living and Memory Care Apartments open at the end of 2014. To learn more, visit FrasierMeadows.org.
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Artist Series
The Artist Series presents performances of fine music and performing arts to which the community would otherwise not have access. The highest quality emerging and internationally recognized artists provide worldclass performances and residency activities that enhance the learning environment at the University of Colorado Boulder and the cultural life of the community. The Artist Series includes a variety of presentations from many cultures and traditions.
BENEFACTOR Mark and Margaret Carson Carson-Pfafflin Family Foundation Paul Bechtner Foundation Greg Silvus and Melanie Miller Ellen and Joshua Taxman SPONSOR Diane and Richard Dunn Daryl and Kay James Mary Lamy Louise Pearson and Grant Couch PATRON Anonymous Joan McLean Braun Chris and Barbara Christoffersen Ruth Carmel Kahn Midge Korczak Hal Osteen Scott Wiesner and Janet Ackermann SUPPORTER Anonymous Albert and Nancy Boggess Fiona and Marv Caruthers Carol and Michael Gallucci Doree and Jerry Hickman Myra Jackson Susan and Jon Lounsbury Heidi and Jerry Lynch Janet and Scott Martin Robert and Sandra McCalmon Judy and Alan Megibow Barbara and Irwin Neulight Jerry and Jamie Orten Mikhy and Michael Ritter Alicia and Juan Rodriguez Theodore and Ruth Smith Lawrence and Ann Thomas CONTRIBUTOR Gil and Nancy Berman Ellen and Dean Boal Norma Ekstrand and Tom Campbell Martha Coffin Evans and Robert Trembly Gregory and Gladeane Lefferdink Harold and Joan Leinbach Robert and Francine Myers Gary and Beth Rauch Stephanie and Alan Rudy Douglas and Avlona Taylor Kenneth Pope and Christine Willis 22 |
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MEMBER David Beausang Shirley Carnahan Pauline and Noel Clark Catherine Cloutier Kenneth Dell Fran Evans Leslie and Merrill Glustrom Laima and Damon Haley Jeannette and David Hillery John Graham and Lorin Lear Pamela Leland Judah and Alice Levine Thomas and Gail Madden Paul and Kay McCormick Janet and Hunter McDaniel Tammy Noirot Kim and Rich Plumridge Randall Rutsch Ruth Shanberge in memory of Carol Seideman Mary Ann Shea and Steven Meyrich Courtland and Carolyn Spicer Zoe Stivers Randi and Anthony Stroh Tom and Karen Thibodeau Lloyd Timblin Jr. Geoffrey Tyndall Heather Van Dusen Derek Van Westrum Vince and Caroline Wayland ARTIST SERIES ADVISORY BOARD Gil Berman Rodolfo Betancourt Ellen Boal Joan McLean Braun John Davis Diane Dunn Clay Evans Michael Gallucci Lissy Garrison Laima Haley Daryl James, President Maryan Jaross Ruth Kahn Jerry Orten Louise Pearson Erika Randall Gregory Silvus Ellen Taxman Nicholas Vocatura
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Takács Society
The Takács Society is formed by the College of Music and provides the resources critical to supporting the work of the Takács Quartet—to advance their teaching endeavors, provide scholarships that are essential to attracting and retaining exceptionally gifted young artists, and sponsor guest artists in the Takács performance series.
BENEFACTOR Albert and Nancy Boggess Gary and Judith Judd in memory of Fay Shwayder Norma R. Johnson Fund in memory of Fay Shwayder Janet and David Robertson Takács Quartet SPONSOR Pamela Decker Marion Thurnauer and Alexander Trifunac PATRON Catharine Hawkins Foundation Thomas and Carol Cech Chris and Barbara Christoffersen Carol Lena Kovner Kathleen Sullivan John and Carson Taylor SUPPORTER Anonymous Anne Heinz and Ron Yaron Robert R. Kehoe Walter and Eileen Kintsch Ray and Margot LaPanse Maxine Mark Lise Menn Virginia M. Newton Newton Family Fund, Inc. Neil and Martha Palmer Mikhy and Michael Ritter Susan and David Seitz Lawrence and Ann Thomas James and Lena Wockenfuss
CONTRIBUTOR Virginia and Stanley Boucher William and Alice Bradley Christopher and Margot Brauchli Marda Buchholz Noel and Pauline Clark Robert and Lenore Damrauer Jon and Liz Hinebauch Harold and Joan Leinbach Nancy and Paul Levitt Patricia and Robert Lisensky Cheryl Stevenson and James Cannon Lynn Streeter Randi and Anthony Stroh Patricia Thompson MEMBER Lois Abbott Maria and Jesse Aweida Ted and Ingrid Becher Kevin and Diana Bunnell Patricia Butler Shirley Carnahan Penny Chenery Helen Corbett Charlotte Corbridge Joann and Richard Crandall Barbara and Carl Diehl Carolyn and Don Etter Jean and Bob Fischer Marcia Geissinger and Neil Ashby Mary and Lloyd Gelman Steve Goldhaber and Mariana Goldhaber-Vertenstein Dianne and Kenneth Hackett David Hammer Bruce and Kyongguen Johnson Jennifer and Bob Kamper
If you would like to name a seat in Grusin Music Hall, please call the College of Music Development Office at 303-735-6070. Make all gifts payable to the University of Colorado Foundation and mail to Takács Society, CU College of Music, 301 UCB, Boulder, CO 80309-0301. For credit card payments, questions or additional information, please call the College of Music Development Office at 303-735-6070.
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Caryl and David Kassoy Mireille Key Alice and Judah Levine Albert and Virginia Lundell Heidi and Jerry Lynch Kamilla Macar Thomas and Gail Madden Caroline Malde Nancy and John Malville J. Richard and Marjorie McIntosh Peter and Doris McManamon Christopher Mueller and Martha Whittaker Joan Nordgren Alison and Graham Oddie Joanie Oram Julie and Wayne Phillips Arthur and Ina Rifkin Joanna and Mark Rosenblum JoAn Segal Ruth Shanberge in memory of Carol Seideman Todd and Gretchen Sliker Grietje Sloan Carol and Art Smoot Jan and Charles Squier Helen Stone Berkley Tague Laurie and Arthur Travers Mary and Peter Van Etten Betty Van Zandt Thomas VanZandt Christopher and Leanne Walther Nurit and Jim Wolf Bill Wood M. Yanowitch
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Friends of the Eklund Opera Program E K L U N D
The Eklund Opera Program is recognized nationwide as one of the finest programs of its kind in the country. Its success is a reflection of outstanding faculty, exceptionally gifted students, professional production standards, and, ultimately, the successful placement of students after graduation in the professional world. You are invited to be a part of the tradition of excellence that has come to characterize CU Opera. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting CU Opera, please contact our Development Office at 303-735-6070.
BENEFACTOR Anonymous The Academy Charitable Foundation, Inc. Allen Family Fund Paul Eklund Bob Graham Ann Oglesby SPONSOR Alan and Martha Stormo PATRON Chris and Barbara Christoffersen Albert and Betsy Hand Bob and Mikee Kapelke Ken and Ruth Wright Wright Family Foundation SUPPORTER Anonymous Caulkins Family Foundation John Hedderich Jo and David Hill Mikhy and Mike Ritter Rotary International District # 5450 Theodore and Ruth Smith Lawrence and Ann Thomas CONTRIBUTOR Donna and Ken Barrow Jim and Judith Bowers Robert and Lenore Damrauer Walt and Mary Ruth Duncan Martha Coffin Evans and Robert Trembly David and Janet Hummer Harold and Joan Leinbach Burr Lloyd Dennis Peterson Dave and Ann Phillips Richard and Caroline Van Pelt Peter Wall Michael and Linda Weatherwax in memory of Allene Cash
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MEMBER Judith Auer and George Lawrence Shannon Bee Bob Burnham and Gail Promboin Allene Cash Ben and Gale Chidlaw Wallace and Beryl Clark Sara-Jane and William Cohen Peter and Joan Dawson Richard and Margaret Dillon Donald and Beverly Eklund Lloyd and Mary Gelman Ellen and John Gille Steve Goldhaber and Mariana Goldhaber-Vertenstein Susan Graber Janet Hanley Linda L. Johnson Frank and Marion Kreith Nicholas and Mollie Lee Patricia and Robert Lisensky Shauna and Kenneth Levinson Heidi and Jerry Lynch Bruce Mackenzie Marian Matheson Byron and Cathy McCalmon Denise McCleary and Paul Von Behren Corinne McKay Richard and Donna Meckley Pat and Bob Meyers Marilyn Newsom Margaret Oakes Robert and Marilyn Peltzer Byron and Sylvia Riley Juan and Alicia Rodriguez Elaine Schnabel Ruth Schoening Ruth Shanberge JoAnn Silverstein and Nevis Cook Helen Stone Walter Taylor Daniel Urist
GRANTS Denver Lyric Opera Guild Galen & Ada Belle Spencer Foundation Louis and Harold Price Foundation Roser Visiting Artist Endowment The Schramm Foundation
ABOUT THE EKLUND FAMILY OPERA PROGRAM
Recognizing the importance of the arts and live-vocal performance in an increasingly distracted world, long-time Boulder resident Paul Eklund made a generous gift in October to help establish a $2 million endowment at the CU-Boulder College of Music. Funding from the endowment will help support three opera productions each academic year, the CU New Opera Workshop and an opera-scenes program for new students.
From left, Paul Eklund, Director of Opera Leigh Holman and Dean of the College of Music Robert S. Shay
SPONSOR
BOULDER PHILHARMONIC ORCHESTRA MICHAEL BUTTERMAN, MUSIC DIRECTOR
Legends: The Spirit of Boulder 2014-2015 SEASON
Season Finale: Legendar� Vir��osit� Dvořák’s Cello Concer�o with Zuill Bailey SATURDAY, APRIL 25—7:30 PM MACKY AUDITORIUM, BOULDER
LIADOV The Enchanted Lake DVOŘÁK Cello Concerto with ZUILL BAILEY BARTÓK Concerto for Orchestra APR. 22, 7:30 PM - Free Café Phil Open Rehearsal at The Dairy Nature and myth intermingle in Liadov’s misty painting of The Enchanted Lake. Then cellist Zuill Bailey shares his moving interpretation of Dvořák’s well-loved Cello Concerto. Finally, revel in the talents of Boulder Phil musicians as they step to the fore in Bartók’s tour de force, the Concerto for Orchestra.
Photo: Lisa-Marie Mazzucco
www.BoulderPhil.org
Tickets start at $13; Students $5!
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Personnel COLLEGE OF MUSIC ADVISORY BOARD Robert Shay, Dean James R. Austin Chris Brauchli Steve Bruns Bob Bunting Jan Burton John Davis Paul Eklund Bill Elliott Martha Coffin Evans Jonathan Fox David Fulker Grace Gamm Lissy Garrison Lloyd Gelman Doree Hickman David Hummer Daryl James Caryl Kassoy Robert Korenblat Erma Mantey Joe Negler Susan Olenwine Mikhy Ritter, co-chair Becky Roser, co-chair Mark Tezak Jeannie Thompson Jack Walker HONORARY DIRECTORS Dean Boal Bob Charles Eileen Cline Donna Erismann Dave Grusin
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STAFF Joan McLean Braun, Executive Director Nick Vocatura, Operations Director Laima Haley, Marketing Director Clay Evans, Communications Director Daniel C. Leonard, Marketing and Public Relations Coordinator Melinda Plett, Publications Coordinator Karen Schuster, Graphic Designer Rachel Dodson, Emily Scraggs, Helen Slivinski, Public Relations Assistants Margaret Romero, Production Assistant Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Coordinator Ciara Glasheen-Artem, Sydney Bogatz, Starla Doyal, Lucas Munce, Melanie Shaffer, Bradley Steinmeyer, Box Office Assistants Kevin Harbison, Recording Engineer Nancy Quintanilla, Financial Manager Ted Mulcahey, Piano Technician MACKY AUDITORIUM STAFF Rudy Betancourt, Director John Jungerberg, Operations Manager Sara Krumwiede, Assistant Director JP Osnes, Technical Director Rhett Snyder, Assistant Technical Director Rojana Savoye, House Manager Nicole Anderson, Assistant House Manager Program editor: Clay Evans Cover design: Karen Schuster
PATRON INFORMATION • CU Presents venues are fully accessible to patrons using wheelchairs and those with other special needs. Please call the box office as early as possible at 303-4928008 to make arrangements. • Parking is available in the Euclid Avenue Autopark, Lot 310, and Lot 204 for $4 per evening or weekend day. Lot 380 (near Macky) is reserved for VIP members of the Artist Series. Drop-off and handicap parking is available near all venues. For more information about the best parking options for each venue, please call the box office at 303-492-8008. • Food is permitted in seating areas of Macky Auditorium and the Mary Rippon Outdoor Theatre, but prohibited in other campus venues unless otherwise noted. • Photographic and recording devices are prohibited. • All programs, artists and prices are subject to change. • All sales are final; no refunds. Subscribers may exchange tickets for another night or performance with no exchange fee; single-ticket exchanges are subject to a $3 per ticket exchange fee. Exchanges are subject to availability and must be made at least one business day prior to performance; an upgrade fee may apply. • CU presents will hold all events as scheduled unless the CU-Boulder campus is closed due to hazardous weather. We will make every effort to notify patrons of an emergency closure as soon as the situation arises. For detailed information on the Colorado Shakespeare Festival’s rain policy, please visit coloradoshakes.org. • Patrons are encouraged to call CU Presents at 303-492-8008 for information on the suitability of events for children. • Patrons are encouraged to be considerate of those around you and to refrain from wearing strong fragrances. • Can’t use your tickets? Return them to the CU Presents box office as a taxdeductible contribution prior to the beginning of the performance. • The University of Colorado Boulder is a smoke-free campus.
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