CU Presents Magazine Winter 2016, April 27, 2017 by The Publishing House

Global performance. World-class entertainment. You have to be here.

Die Fledermaus By Johann Strauss Oct. 21-23, 2016

The Magic Flute

By Wolfgang Amadeus Mozart March 17-19, 2017

Artwork: Mark Schroder

Artwork: Janalee Robison janaleerobison.com

2016-2017 Season

Red Hot and Cole

Music and lyrics by Cole Porter April 27-30, 2017

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Contents

With US

Flute Month .........................................6 Calendar ..............................................8 Bud Coleman .....................................20 CU NOW .................................. ..........22 Artist Series donors ...........................26 TakĂĄcs Society donors .....................30 Eklund Opera donors .......................32 Personnel lists ..................................34

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CU's Flute Month 80th Anniversary

Football games. Fourth of July parades. Princess Leia’s theme in “Star Wars.”

All of these cultural hallmarks have something surprising in common: They prominently feature the flute. “The flute is everywhere,” says Christina Jennings, associate professor of flute at CU Boulder. “We’re surrounded by the sound of it without consciously being aware of it. It’s part of our human identity.” Jennings loves the instrument so much that she’s created a two-day festival called Once A Flutist for youth, alumni, lapsed adult flutists and curious community members. It’s just one of many flute-centric events happening this March; also on the agenda are concerts featuring world-famous musician James Galway and Irish ensemble Danú, a free Faculty Tuesday event with Jennings and some of her flute studio alumni, and a colorful Eklund Opera production of Mozart’s “The Magic Flute.” While CU Presents Executive Director and flutist Joan McLean Braun says the collision of flute events in March was pure coincidence, she’s not surprised: it’s one of the most popular instruments out there. “It’s a fun instrument, lovely and melodic, so it lends itself well to all kinds of music,” she says. “As soon as I could finally make a sound on the dang thing, I was hooked.” She’s looking forward to hearing James Galway, who reached fame through collaborations with the Chieftains

and recordings for “The Lord of the Rings” soundtracks, in recital. “He has a magnetic personality, and he’s really been an ambassador for the flute and all of the different genres it can inhabit,” Braun says. “He approaches it with joy and fun, and I think people respond to that.” “Joy” and “fun” are also apt descriptors of “The Magic Flute,” the world’s most famous and frequently performed opera. Though today it’s often staged for children, Eklund Opera Music Director Nicholas Carthy says Mozart wrote it for people of all ages to enjoy. “It seems to appeal to everybody on several different levels,” he says. “On a very basic level, the story is a lot like ‘Shrek’—a romantic comedy with a funny sidekick who talks too much. But there are so many levels to the plot—not to mention the incredible music.” Jennings, who fell in love with “The Magic Flute” as a child and performed it with Houston Grand Opera, is delighted she’s involved in a month-long, campus-wide celebration of the oldest instrument on Earth, one that’s touched every continent and almost every culture. “If you ask most flute players why they were attracted to it,” she says, “it always has something to do with the sound. It’s so close to singing and the sound holds so much possibility.” Danú: Saturday, March 4 | tickets start at $20 Once A Flutist: March 21 & 22 | more information at colorado.edu/music/once-a-flutist The Magic Flute: March 17-19 | tickets start at $20 James Galway: Wednesday, March 22 | tickets start at $20

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Hear Kwabena’s story in his own words CE.COLORADO.EDU/CATCHUP

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2016-17 Season Danú The World’s Greatest St. Patrick's Day Celebration Danú brings together virtuosi players on flute, tin whistle, fiddle, accordion, vocals and more for a high-energy performance of ancient Irish music and new repertoire. This fan favorite returns to Boulder for an unforgettable St. Patrick’s Day concert. Saturday, March 4 2017 7:30 p.m.

80th Anniversary

Sir James Galway, Lady Jeanne Galway and friends

“The Man with the Golden Flute” pays a visit to Boulder for a mesmerizing, genre-defying performance. Between his classical credits, his star-studded collaborations and his iconic recordings for The Lord of the Rings films, Sir James Galway is the premier flutist of our time. Wednesday, March 22, 2017 7:30 p.m.

Global performance. World-class entertainment. You have to be here.

Faculty Tuesdays 7:30 p.m., Grusin Music Hall • Free and open to the public

February 28

March 7

March 14

Violinist Geraldine Walther and friends Geraldine Walther, Harumi Rhodes, David Requiro and David Korevaar perform a variety of works and styles, from Beethoven's String Trio in G Major to Schoenberg's seldom-performed String Trio to the romantic and popular Piano Quartet in E-flat Major by Robert Schumann.

Pianist Alexandra Nguyen and friends This program features the creative outcomes of musings: contemplations on color and energy, the cosmos and life. Don't miss the beloved Patrick Mason in his last faculty performance before he begins his exploration of new vistas at the end of the academic year. Works by Higdon, Gougeon and Rachmaninoff.

Tubaist Mike Dunn and friends A varied concert featuring Mike Dunn, students and facutly of the College of Music.

From Old to New

Musings

More info at

Tuba or Not Tuba

March 21

Once a Flutist...

Flutist Christina Jennings and friends Christina Jennings performs as part of the Once a Flutist festival in a program celebrating the diversity and community of the oldest instrument on Earth. Joining her will be members of the Eisenhower Elementary School choir, the CU choirs wtih conductor Gregory Gentry, and many current and former CU flute studio alumni.

colorado.edu/music

Can’t make it? Watch the online livestream at our website! 8

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The Grammy Award-winning chamber quartet has been moving audiences and selling out concerts for three decades at CU Boulder. Their irresistible blend of virtuosic technique and engaging personality has led The Guardian (London) to proclaim, "The Takács Quartet are matchless, their supreme artistry manifest at every level."

Sunday, March 19, 4 p.m. Monday, March 20, 7:30 p.m. Sunday, April 30, 4 p.m. Monday, May 1, 7:30 p.m.

Red Hot and Cole celebrates Cole Porter, the great American songwriter who brought style, elegance and sophistication to Broadway and Hollywood, delighting the world with clever rhymes, fresh melodies and a sassy, sexy sensibility.

The Magic Flute Like a fantasy adventure film come to life, Mozart's The Magic Flute blends together whimsical humor and irresistible melodies to tell the gripping story of a prince who must outwit an evil queen to be united with his true love.

April 27-30

March 17-19

The Rocky Horror Show Opens March 3

by Richard O'Brien

When a newly engaged couple gets caught in a storm and meets the tan, muscular new creation of mad transvestite scientist Frank N. Furter, their world is forever changed.

Coming Soon Fefu and Her Friends by Maria Irene Fornes Opens April 5 FRESH a Dance Sampler Opens April 28

Alter/Altar Opens March 3 MFA Dance Works In a shared evening of dance, MFA candidates Gwen Ritchie and Arneshia Williams each create, revisit and revise spheres of knowing from their own unique kinesthetic voices.

Peter and the Starcatcher Opens April 14 by Rick Elice, with music by Wayne Barker based on the Novel by Dave Barry and Ridley Pearson Ever wondered what Peter Pan’s childhood was like before Wendy met him in Neverland? Based on a best-selling 2006 novel, Peter and the Starcatcher travels back to Peter’s early adventures in an orphanage, aboard a weather-beaten ship holding precious cargo and on a magical remote island.

Plus much more! colorado.edu/theatredance/events

The Current

(Dance Series) Faculty and guest artists present innovative dance works that reflect the rich diversity of CU Boulder’s Dance Division. From transnational fusion to experimental dance theatre, from Hip-Hop to aerial dance, audiences will experience the depth and dimension of the program’s offerings.

Celebrate the 60th Season of the Colorado Shakespeare Festival! 2017 Lineup:

The Taming of the Shrew Hamlet Julius Caesar Rosencrantz & Guildenstern are Dead 60th Season

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Henry VI, Part 3

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The Colorado Shakespeare Festival is a professional theatre company in association with the University of Colorado Boulder. Since 1958, the festival has celebrated and explored Shakespeare and his continuing influence and vitality through productions of superior artistic quality, education and community engagement.

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Music and Lyrics by Cole Porter

Book by James Bianchi, Muriel McAuley and Randy Strawderman Conceived by Randy Strawderman Musical Concepts and Arrangements by Dougee Zeno � Originally Produced by Barksdale Theatre, Hanover, Virginia

Role

Thursday & Saturday Cast Friday & Sunday Cast

Cole Porter Bricktop Linda Porter Elsa Maxwell and Ethel Merman Irene Castle and Beatrice Little Sara Murphy, Dorothy Parker, Hedda Hopper, Bella Spewack Rocky Twins

Michael Aniolek Tiana Sorensen Maureen Bailey Katheryne Baker

Zac Barger Tiana Sorensen Nadya Hill Winona Martin

Jade Espina

Anne Lowoski

Caroline Vickstrom

Dominique Grogan

Rebecca Ramsey Lane Melott Charles Daniel

Jesse Enderle

Jacob Baker

Daniel Thompson Sophie Malia Ledingham Karl Allen Rachel Solko

Paul Reynerson Sophie Malia Ledingham Patrick Bessenbacher Rachel Solko

Monty Wooley and Ray Goetz Clifton Webb, English Soldier, George Kaufman, Sam Katz, Doctor, Noel Coward Moss Hart Zelda, a Starlet Paul, Cole’s Valet Sheila, a Starlet

Band

Jeremy Reger, piano ● April Johannesen, clarinet, flute ● Ryan Jacobsen, violin Alicia Baker, accordion ● Jesse Fischer, double bass ● Jordan Stern, guitar Director, Eklund Opera Music Director, Orchestrations and Conductor Stage Director and Choreographer Lighting Designer Costume Designer Technical Director Set Designers

Leigh Holman Jeremy Reger Bud Coleman Liza Williams Tom Robbins Ron Mueller Ron Mueller Jeff Rusnak

Production will run approximately 2 hours and 20 minutes including one 20-minute intermission Before performance begins, please switch off cell phones and other electronic devices Red Hot and Cole is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com Join us for Twittermission! Tag us in your post or selfie and you could win a pair of vouchers to any CU Presents performance. @cupresents

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EKLUND OPERA PROGRAM—Red Hot and Cole, April 27-30, 2017

Red Hot and Cole

EKLUND OPERA PROGRAMâ&#x20AC;&#x201D;Red Hot and Cole, April 27-30, 2017

Production & Technical Staff Assistant Technical Director Stage Manager Assistant Stage Manager s Production Assistant Dance Captains Costume Assistants Makeup Designer Wigmaster/Hairdresser Propmaster Scenic Artist Assistant Scenic Artist Carpenters Master Electrician/Board Op. Electricians Spot Operators

C-2

Jeff Rusnak Margaret Kayes Courtney Williams Ekaterina Kotcherguina Chris Martin Lane Melott Sophie Malia Ledingham Whitney Wolanin Alison Milan Jeannete Hickok Tom Robbins Tom Robbins Jennifer Melcher Allan Trumpler Cooper Braun-Enos Ben Smith Dan Sjaastad Ben Smith Cooper Braun-Enos Chris Evans Dan Sjaastad Jeff Rusnak Dan Sjaastad

CU Presents Staff Dean, College of Music Executive Director Marketing and Public Relations Director Public Relations Manager Assistant Director of Communications/Web Admin. Marketing Manager Publications Specialist Graphic Design Assistant Social Content Creator Communications Assistant Video Production Assistants Operations Director Box Office Manager Box Office Services Manager Box Office Assistants

Photography

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Robert Shay Joan McLean Braun Laima Haley Jill Kimball Jessie Bauters Daniel C. Leonard Sabrina Green Analise Iwanski Morgan Gallo Maureen Bailey Jackson Xia Emma Salvati Andrew Metzroth Elise Campbell Michael Casey Elise Campbell Taralynn Dorr Adrienne Havelka Megan Quilliam Chris Ruiz Karen Van Acker Glenn Asakawa Patrick Campbell Casey A. Cass

Musical Numbers I’m Throwing a Ball Tonight—Panama Hattie I’m a Gigolo—Wake Up and Dream Tomorrow—Leave It To Me! War Song* I Love Paris—Can-Can I’m In Love Again —Greenwich Village Follies of 1924 Who Said Gay Paree?—Can-Can Come Along With Me—Can-Can Anything Goes—Anything Goes Let’s Do It, Let’s Fall In Love—Paris Let’s Misbehave—Paris What Is This Thing Called Love?—Wake Up and Dream Love For Sale—Gay Divorce I Get A Kick Out Of You—Anything Goes Anything Goes (Reprise)—Anything Goes You’re The Top—Anything Goes Miss Otis Regrets—High Diddle Diddle Begin The Beguine—Jubilee Just One Of Those Things—Jubilee In The Still Of The Night—Rosalie Ridin’ High & Red, Hot and Blue (Medley)—Red, Hot and Blue Ridin’ High & Red, Hot and Blue (Reprise)—Red, Hot and Blue

Act 2

It’s Delovely—Red, Hot and Blue Let’s Do It**—Paris The Physician—Nymph Errant Don’t Fence Me In—Adios, Argentina Ça, C’est L’Amour—Les Girls Friendship—Anything Goes My Heart Belongs To Daddy—Leave It To Me! I’m In Love With A Soldier Boy—Something for the Boys Ours—Red, Hot and Blue Kiss Me, Kate (Medley)—Kiss Me, Kate Bull Dog—Yale University Fight Song Every Time We Say Goodbye—Seven Lively Arts True Love—High Society Wake Up And Dream—Wake Up And Dream Night and Day—Gay Divorce *Music by Jerome Kern **Lyrics by Noel Coward

Synopsis Red Hot and Cole celebrates the life of one of the great songwriting masters of this century. This twoact revue traces Cole's career from Indiana to the world stages of New York, London, Paris and Venice, through his marriage, his friendships with the greats of his age and the tragic riding accident that crippled him in mid-career, physically, but not artistically. The show features more than 25 Cole Porter standards, including "Night And Day," "I Love Paris," "Anything Goes," "Let's Do It," "Miss Otis Regrets," "Just One Of Those Things," "In The Still Of The Night" and "My Heart Belongs To Daddy." He’s “throwing a ball tonight”—and you're all invited to the “swellegant” theatrical party spanning the life of Broadway’s greatest wit, the irrepressible Cole Porter. A scintillating mixture of biography and song, Red Hot and Cole celebrates the great American songwriter who brought style, elegance and sophistication to the stages and sound stages of Broadway and Hollywood, delighting the world with his devilishly clever rhymes, fresh and unexpected melodies and sassy, sexy sensibility. It’s a champagne tribute to a glittering age gone by, to the man and talent who was Cole Porter.

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EKLUND OPERA PROGRAM—Red Hot and Cole, April 27-30, 2017

Act 1

EKLUND OPERA PROGRAM—Red Hot and Cole, April 27-30, 2017

From Stage Director Bud Coleman Welcome to Cole Porter’s party. We are thrilled you are here in New York at Cole and Linda’s apartment in the Waldorf-Astoria, where they lived from 1934 to 1964. (If you would like to rent their six-bedroom apartment on the 33rd floor, it now rents for $140,000 a month.) The next party is in Paris, then we are on to Venice. Regardless of the location, Cole surrounded himself with eloquent, talented, beautiful men and women who embraced his ethos of “Don’t Fence Me In” (Adios, Argentina) and “High Society” (High Society). While many songwriters, librettists, directors and producers of musical theatre’s Golden Age were born into poor, Jewish families in New York City, none of these facts applied to Cole Porter, who was born in Peru, Indiana, on June 9, 1891, to a wealthy Episcopalian family whose money came from lumber and mining interests. As both composer and lyricist, he wrote more than 800 published songs in his lifetime, although he didn’t really start his Broadway career until he was in his late 30s. Porter was a homosexual who was married to a woman for more than three decades, a theatre person who was an avid horseman (until sidelined by a 1937 accident), and a society playboy who loved being in the press, yet was as disciplined as any tunesmith on Broadway. In short, the life of composer/lyricist Cole Porter was full of seeming contradictions. With formal training in violin and piano, Porter began writing songs at an early age; his mother saw to it that young Cole’s first song, “Bobolink Waltz,” was published when he was 11 years old. Sent to boarding school in Massachusetts, he later graduated from Yale and briefly attended Harvard Law School. While at Yale, he not only wrote songs for six college theatricals but also wrote several fight songs, some of which are still sung at football games today. Pursuing his dream of being a Broadway songwriter, he was able to get a few of his numbers into two shows before he teamed up with fellow Yale alumnus, librettist T. Lawrason Riggs, to create his first professional musical, See America First, with a complete score by Porter. It opened to dreadful reviews in 1916 and limped along for only 15 performances. While his contemporaries would brush themselves off after a defeat in the Big Apple and attack Broadway with another show to prove their mettle, Porter instead moved to Paris, subsidized by an allowance from his family. Living the high life in Venice, London and the French Riviera as a member of a glittering expatriate society, Porter was the life of the party. In 1919, he married the wealthy divorceé Linda Lee Thomas (nine years his senior) who lived in Paris. The couple was known for being sophisticated, stylish, and above all, smart. When Porter’s grandfather died in 1923, he inherited a small fortune, which led to even more extravagant spending and travel. The biggest surprise to Porter’s closest friends was not that Linda was older than him but that he married at all, for Porter was known for having a rather ferocious sexual appetite for other men. Yet his relationship with Linda, which was to last 35 years, was more than a marriage of convenience; By all accounts, it was a committed and loving partnership between two great friends. With full knowledge of her husband’s homosexuality, Linda allowed Porter to have relationships with men, all the while protecting his image and projecting a picture of conventional matrimony to the outside world. While in Europe, Porter wrote or contributed to three revues after the failure of See America First, but it was not until he agreed to write a star vehicle for the vivacious Irene Bordoni that he returned to Broadway in 1928—twelve years after his first failure—with the musical comedy Paris. Written at the Porter home in Venice, the score contained smart and melodic numbers such as “Oh, You Sweet Old Whatcha-MayCall-It,” “Two Little Babes in the Woods” and “Don’t Look at Me That Way.” It also introduced the smash hit “Let’s Do It, Let’s Fall in Love.” Notable for its innuendo and very suggestive lyrics, “Let’s Do It” was the first of many of Porter’s “list” songs. With favorable reviews and a healthy run of 195 performances, Paris was a hit and the Porters left Europe and moved to New York City. Even though he had been writing songs for years, it was only upon returning to the States that Porter made it big, and at the age of 37, he was hardly a young Broadway talent. Porter’s Associated Press obituary noted that there was not one but three signature types of Cole Porter songs. The first boasted suave, intelligent and sophisticated lyrics and music and evoked a supple, complex and often dark mood; they are suggestive, atmospheric and often demonstrate an obsession C-4

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Another element of Porter’s genius was his ability to absorb musical influences from around the world, gleaned from his many travels, to create new hybrid forms that were palatable to the American ear. For example, “Love for Sale” (The New Yorkers) evokes an eastern Mediterranean sound; “Night and Day” (Gay Divorce) recalls the Islamic call to prayer Porter heard on his trip to Morocco; and “Begin the Beguine” (Jubilee) evokes a slow rumba, popular in the islands of Martinique and Guadeloupe in the 1930s. It is somewhat ironic that many American musical songwriters in the twentieth century were foreign-born and often strove to distance themselves from their European roots in order to sound “American,” while the Indiana-born Porter, a thoroughbred American if there ever was one, wrote songs that embraced an international feel in their words and music. It is this attribute that musically set his songs apart from most of the popular radio hits of his day. Once again, we welcome you to Cole Porter’s party. We’re thrilled you’re here!

From Music Director Jeremy Reger My love for Cole Porter and the repertoire that is lovingly called "The American Songbook" started in, of all places, a dumpster. My uncle's philosophy of "one man's junk is another man's treasure" often led him to diving for reams of scores to give to his adolescent piano-playing nephew. Among these treasures was, inevitably, discarded sheet music, including selections by Cole Porter. They always stood out to this preteen pianist as he sight-read at the piano because they had special challenges: Complicated key signatures, strange turns of phrase and sudden rhythmic shifts abounded. Cole Porter was part of my introduction to music, thanks to garage sales, auctions and a thoughtful family member. Eklund Opera Director Leigh Holman and I noticed that our current students were not as familiar with this musical style, and we knew we had to remedy that situation. Luckily, many fabulous singers have paved the way to understanding the delivery of a Cole Porter song, including Mabel Mercer, Ella Fitzgerald and Frank Sinatra. Their individual styles help encourage our students to find their own style of delivering this endlessly fascinating repertoire. A note on the arrangements: The standard arrangement of Red Hot and Cole calls for piano, drums and bass. As much as I love Cole Porter, his life story really paints a picture of upper-class society—yet I fell in love with his music not at some fancy cocktail party but by lovingly taping together faded, sepiacolored sheet music that had been played by countless others. The magic of Cole Porter's music was that it didn't just exist in an upper-crust fantasy land. At the same time that Cole was writing for his swanky parties, new forms of music were emerging that combined elements of gypsy music, jazz and folk into a big potpourri of styles. I wanted to celebrate this aspect of his music in the arrangements. So though the music may lack the authenticity of a swanky socialite event, it carries what I love most about Cole Porter's music: its wit, charm, timelessness and versatility. It is these qualities that drew me to the lyrics and tunes in childhood and keep drawing in audiences of all ages. Thanks for supporting our projects, and I hope you enjoy the show.

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EKLUND OPERA PROGRAM—Red Hot and Cole, April 27-30, 2017

with sexual romanticism (i.e., "Love for Sale," “What Is This Thing Called Love?," "Night and Day," “Let’s Misbehave,” “Please Don’t Make Me Be Good” and "Begin the Beguine"). Second is the “list song,” which Porter didn’t invent but took to new heights, often combining the high and the low, citing popular culture references and name-dropping everyone from Mickey Mouse to Fred Astaire (i.e., “Let’s Do It,” “Friendship,” “You’re the Top” and "Too Darn Hot"). The third style embraces the exclamatory songs written by George M. Cohen and Irving Berlin. Porter put his own stamp on the extroverted musical showstopper, exploiting the quintessential Broadway "belt," epitomized by many of the songs that appear in the five musicals he wrote for Ethel Merman (i.e., “Blow, Gabriel, Blow,” “Just One of Those Things" and "From This Moment On").

EKLUND OPERA PROGRAM—Red Hot and Cole, April 27-30, 2017

The Company KARL ALLEN—Paul, Cole’s Valet This is Mr. Allen’s premiere role with Eklund Opera as he earns his degree as a sophomore in music performance at CU Boulder. Previously, Mr. Allen has appeared with Eklund Opera in the choruses of Copland’s The Tender Land and Strauss’ Die Fledermaus. Mr. Allen will appear again during Eklund Opera’s CU Now 2017 in the chorus of Mark Adamo’s The Gospel of Mary Magdalene. Mr. Allen is a student of Matthew Chellis.

JADE ESPINA—Irene Castle and Beatrice Little Ms. Espina is in the third year of her undergraduate at CU Boulder, with this being her fourth production with Eklund Opera. She performed the role of Third Spirit in The Magic Flute, Sister Mathilde in Dialogues of the Carmelites and as part of the chorus in Die Fledermaus. Ms. Espina is pursuing a dual degree in vocal performance and choral music education. She is a student of Jennifer Bird.

MICHAEL ANIOLEK—Cole Porter Mr. Aniolek has performed roles in several productions with Eklund Opera. Credits include Monostatos in The Magic Flute, Le Chevalier in Dialogues of the Carmelites, Dr. Blind in Die Fledermaus and an angel in the CU NOW workshop of Jake Heggie’s It’s a Wonderful Life. Most recently, he made his stage-directing debut with Ned Rorem’s Three Sisters Who Are Not Sisters and has worked as an assistant director for Leigh Holman. Mr. Aniolek is a student of Matthew Chellis.

Dominique Francis Grogan—Sara Murphy, Dorothy Parker, Hedda Hopper, Bella Spewack As a sophomore earning her BM in vocal performance, Miss Grogan has two chorus credits in the Eklund Opera Program, Poulenc's Dialogues of the Carmelites and Strauss’ Die Fledermaus. This is her first role. She is highly involved in jazz and contemporary music. She is a student of Professor Abigail Nims.

MAUREEN BAILEY—Linda Porter Ms. Bailey is in her first year as a MM vocal performance candidate at CU Boulder after completing a BM in French horn performance at DePauw University in May. This is her third production with Eklund Opera, having recently performed the role of First Lady in Mozart’s The Magic Flute and covered the role of Rosalinda in the CU Boulder Fall 2016 production of Strauss’ Die Fledermaus. Ms. Bailey also sang the role of Jenny in Ned Rorem’s Three Sisters Who Are Not Sisters, participated in the workshop of Jake Heggie and Gene Scheer’s It’s A Wonderful Life during CU NOW (2016) and joined the Loveland Symphony in January for a performance of Mozart’s Exsultate, Jubilate. Ms. Bailey is a student of Abigail Nims. KATHERYNE ANN BAKER—Elsa Maxwell and Ethel Merman Katheryne Baker, mezzo-soprano, is giving her second performance with Eklund Opera. Recently graduating with a BS in vocal performance from William Jewell College in Kansas City, Baker has performed as Zita in Puccini’s Gianni Schicchi, the title role in Menotti’s The Medium, and most recently was the Second Lady in Eklund Opera’s production of The Magic Flute in March. Katheryne is a recipient of the Denver Lyric Opera Guild Scholarship, the Charlotte Orr Reid Vocal Scholarship and the Wilma and Perry Louis Cunningham Graduate Scholarship in Voice. Katheryne is pursuing her MM degree in vocal performance and is studying under Abigail Nims. JACOB BAKER—Clifton Webb, English Soldier, George Kaufman, Sam Katz, Doctor, Noel Coward, This is Baker’s third production at CU Boulder. Baker’s previous performances with Eklund Opera include Tamino in The Magic Flute and Alfredo in Die Fledermaus. Baker has previously performed in the chorus with Wisconsin’s Florentine Opera Company for their 2015-16 season. He graduated from UW-Milwaukee in 2015, where he received a BFA in vocal performance. He is currently pursuing his master’s degree in vocal performance as a student of Matthew Chellis. ZACHARY BARGER—Cole Porter This is Mr. Barger’s final production with the Eklund Opera Program. Past credits include Dr. Falke in Die Fledermaus, Sylvester in Three Sisters Who Are Not Sisters, Arnalta and Venere in L’incoronazione di Poppea and Mr. Jenks in The Tender Land. Chorus credits include Dialogues of the Carmelites, La Cenerentola, Così fan tutte and The Pirates of Penzance. He sang two roles in the CU NOW production of A Song for Susan Smith and has performed in scenes from Rogers and Hammerstein’s Cinderella and Jake Heggie’s Three Decembers. Other credits include playing Hanschen Rilow in Spring Awakening and a role in Songs for a New World (CU Boulder Theatre & Dance). Mr. Barger is a senior studying vocal performance under Patrick Mason and holds a minor in creative writing. JESSE ENDERLE—Clifton Webb, English Soldier, George Kaufman, Sam Katz, Doctor, Noel Coward, Drunk This is Mr. Enderle’s third production with Eklund Opera after The Magic Flute and Die Fledermaus. Previous credits include the titular role in Don Giovanni (Undercroft Opera 2016), Captain Watson in Carousel (Houston Grand Opera 2016), Count Almaviva in Figaro’s Wedding (Opera Theatre Pittsburgh 2015), Archbishop Aguiar y Seijas in the professional world premiere and recording of With Blood, With Ink (Fort Worth Opera 2014, ©2014 Albany Records), Inspector Javert in Les Misérables (The Playhouse San Antonio 2013), various roles with opera companies in Milwaukee, Palm Beach, Tulsa and Central City, and various music festivals in the United States and abroad. Mr. Enderle has twice been a District Winner of the Metropolitan Opera National Council Auditions and has been a finalist for the Lyric Opera of Chicago’s Ryan Opera Center. Mr. Enderle is a student of Patrick Mason.

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NADYA HILL—Linda Porter This is Hill’s sixth production with Eklund Opera after appearing as First Lady in Mozart’s The Magic Flute, Adele in Johann Strauss Jr.'s Die Fledermaus, Despina in Mozart’s Così fan Tutte, covering Poppea in Monteverdi’s L’Incoronazione di Poppea and participating in the CU Boulder winter scenes program. Additional past roles include the Duchess of Plaza Toro in Gilbert and Sullivan’s The Gondoliers with the University of Michigan’s Gilbert and Sullivan Society and Second Lady in Mozart’s The Magic Flute with the University of Michigan’s Opera Theater. Hill received two BM degrees in vocal performance and violin performance from the University of Michigan in 2011. She is currently pursuing a master’s degree in vocal performance as a student of Jennifer Bird-Arvidsson. SOPHIE LEDINGHAM—Zelda, a Starlet and Dance Captain Ms. Ledingham is in her final semester of undergraduate studies at CU Boulder. She has been involved in several productions with Eklund Opera, including Isabel in The Pirates of Penzance, singing in L’incoronazione di Poppea and playing Ida in Die Fledermaus. She was also fortunate to workshop Jake Heggie’s new opera, It’s a Wonderful Life, last summer at CU NOW. Her future plans include European travels and lots of Streusel. She is a student of Jennifer Bird. ANNE LONOWSKI—Irene Castle and Beatrice Little Ms. Lonowski is in the third year of her undergraduate studies at CU Boulder, studying musical theatre and chemical-biological engineering. This is her first role with Eklund Opera. She most recently played the role of Hodel in CU Theatre’s production of Fiddler on the Roof. Ms. Lonowski studies voice under Matthew Chellis. WINONA MARTIN—Elsa Maxwell, Ethel Merman Ms. Martin is in the third year of her undergraduate degree at CU Boulder, having performed with Eklund Opera twice in the choruses for both Die Fledermaus and Così fan tutte and participated in the CU winter scenes program. This will be her premiere role with Eklund Opera. Ms. Martin is pursuing a bachelor of music in vocal performance. She is a student of Abigail Nims. LANE MICHEAL MELOTT—Rocky Twin and Dance Captain Melott’s Eklund Opera credits include Hal in Side by Side by Sondheim, Dr. Blind in Die Fledermaus, Liberto and Valletto in L'incoronazione di Poppea, L'Aumôir in Dialogues of the Carmelites and various roles in The Composer Fellows Initiative in the 2015 and 2016 CU NOW programs. Melott is a student of Jennifer Bird and Matthew Chellis. REBECCA RAMSEY—Rocky Twin Ms. Ramsey is in the third year of her studies at CU Boulder as a bachelor of music in vocal performance. She most recently appeared as Ida in Eklund Opera’s Die Fledermaus. Other credits with Eklund Opera include the role of Beth in The Tender Land, Anne in Die lustigen Weiber von Windsor during the winter scenes program and Sister Gerald in Dialogues of the Carmelites. Ms. Ramsey is a student of Abigail Nims. PAUL REYNERSON—Moss Hart Paul Reynerson is in his second year at CU Boulder studying vocal performance and engineering physics. This is his third show with Eklund Opera, previously appearing in the choruses of La Cenerentola and Die Fledermaus. Mr. Reynerson is currently studying voice under Matthew Chellis.

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TIANA SORENSON—Bricktop Sorenson, a native of Racine, Wisconsin, is premiering in her first production with the Eklund Opera Program as Bricktop. She recently graduated from the University of Wisconsin-Milwaukee with a BFA in voice performance and continues under the study of Dr. Tanya Kruse. Earlier this year, Tiana was seen as First Lady in Milwaukee Opera Theatre’s The Magic Flute, and in December, she was the soprano soloist in UW-Parkside’s Gloria by Poulenc. In 2016 she placed third in the advanced college division of the Wisconsin NATS competition. Previous performances include Second Woman in UWM’s Dido and Aeneas, First Alms Sister in Suor Angelica and Papagena in The Magic Flute. Tiana also has been seen in operatic scenes as Blondchen in Die Entführung aus dem Serail, Nannetta in Falstaff and Second Lady in The Magic Flute. In 2015, she made appearances as Madame Goldentrill in The Impresario and Mrs. Nordstrom in A Little Night Music with the Up North Vocal Institute in Boyne City, Michigan. Tiana has also been a featured soloist with UWM’s Community Orchestra and Fond du Lac Symphonic Band. DANIEL THOMPSON—Moss Hart Mr. Thompson is in his fourth year at CU Boulder studying vocal performance and computer science. He most recently played the role of Frank in Die Fledermaus and has been in shows since his first year here, including The Tender Land as Mr. Jenks, The Pirates of Penzance as a pirate and Side by Side by Sondheim as Louis. Mr. Thompson is a student of Matthew Chellis.

Chris Martin, Production Assistant Chris Martin has worked with Eklund Opera for five seasons. Mr. Martin is also the production manager for the Boulder Philharmonic Orchestra. Mr. Martin has worked for the American Symphony Orchestra, Brooklyn Philharmonic (under Robert Spano) and the Metropolitan Opera and produced concerts at Carnegie Hall, Lincoln Center and the Kennedy Center. Previously, Mr. Martin was a percussion instructor at North Georgia College and State University and Piedmont College. Ron Mueller, Technical Director and Co-Set Designer Ron Mueller has been with Eklund Opera for 18 seasons. His past Eklund Opera productions include The Rake’s Progress, La Traviata, West Side Story and Dead Man Walking. His other professional credits include Skylight Opera, Boulder Ensemble Theatre Company, Crested Butte Music Festival, Colorado Shakespeare Festival and Boulder Dinner Theatre. Jeremy Reger, Music Director International pianist and educator Jeremy Reger maintains an active performing and coaching career. He has served on the music staff of Virginia Opera, Eugene Opera, Hawaii Opera Theater, Mill City Opera, Minnesota Opera, Skylark Opera and Aspen Opera Theater. He recently joined the faculty of CU Boulder as a vocal coach. Prior to that position, he taught at the Music Academy of the West, at Christopher Newport University in Recife, Brazil, and at Indiana University. He has played in the Virginia Symphony, Williamsburg Symphonia, Carmel Symphony and Terre Haute Symphony. Reger has a PhD in collaborative piano from the University of Michigan under Martin Katz. Tom Robbins, Costume Designer Tom Robbins has been with Eklund Opera for 24 seasons. His past Eklund Opera credits include Don Giovanni, Anything Goes, Susannah, Carousel and The Rake’s Progress. His other professional credits include Bonfils Theater, Opera Colorado and Colorado Ballet.

CAROLINE VICKSTROM—Sara Murphy, Dorothy Parker, Hedda Hopper, Bella Spewack Ms. Vickstrom is in her last semester as an undergraduate at CU Boulder, having performed with Eklund Opera for the past four years. She has appeared as the Third Spirit in The Magic Flute, Mrs. Jenks in The Tender Land, Isabel in Pirates of Penzance, Dottie in Side by Side by Sondheim and as part of the chorus in Die Fledermaus, Dialogues of the Carmelites and La Bohème. Red Hot and Cole will be her eighth Eklund Opera performance. Ms. Vickstrom is pursuing a dual degree in vocal performance and choral music education. She is a student of Abigail Nims.

Technical and Production Staff Bud Coleman, Director Bud is honored to work again with Eklund Opera, where he most recently played Frosch in Die Fledermaus last fall. Other credits include directing the CFI operas for CU NOW (2015, 2016, 2017) and A Grand Night for Singing in the Summer Lyric Opera series. A professor of theatre at CU Boulder and chair of the Department of Theatre & Dance, Bud is a former dancer with Les Ballets Trockadero de Monte Carlo, Fort Worth Ballet, Kinesis and Ballet Austin. Coleman has directed and choreographed many musicals and operas, including the musical Company in Vladivostok, Russia, under the auspices of the U.S. State Department Cultural Envoy program, and the Thai premiere of Fiddler on the Roof this spring at Mahidol University. Bud was selected to be a 2009-10 Fulbright Lecturer at Waseda University and Kyoritsu Women’s University in Tokyo. With co-editor Judith Sebesta, they published Women in American Musical Theatre: Essays on Lyricists, Writers, Arrangers, Choreographers, Designers, Producers, and Performance Artists. Coleman and Pamyla Stiehl co-authored the textbook Backstage Pass: A Survey of American Musical Theatre. Margaret Kayes, Stage Manager This is Ms. Kayes’ second production with Eklund Opera. Her credits include L’incoronazione di Poppea and The Turn of the Screw (New England Conservatory); La Grande Duchesse de Gérolstein, Tancredi, The Bartered Bride, The Nose and Der Freischütz (Opera Boston); The Mole Hill Stories (First Stage Children’s Theatre); The Wild Party, Boeing Boeing, The Valley of the Heart, The 39 Steps, RFK and The Addams Family (San Jose Stage Company); Sweeney Todd and One Man, Two Guvnors (Lyric Stage Company of Boston); Twelfth Night, Coriolanus and Othello (Commonwealth Shakespeare Company); and The Secret Garden, The Unbleached American, Something’s Afoot, Miracle on 34th Street, The Marvelous Wonderettes, These Shining Lives, Thoroughly Modern Millie, It’s a Wonderful Life and The Full Monty (Stoneham Theatre).

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EKLUND OPERA PROGRAM—Red Hot and Cole, April 27-30, 2017

RACHEL SOLKO—Sheila, a Starlet Rachel Solko is a freshman vocal performance major at CU Boulder and is thrilled to be in her first university production. She made her debut in high school in A Funny Thing Happened on the Way to the Forum as Gymnasia. Since then she has appeared in many other vocal and musical theatre shows, including Finian’s Rainbow and Bring it On as Campbell. She has always had a special place in her heart for jazz and will be studying vocal jazz in the coming years. She would like to thank the CU music department and her family for their support!

EKLUND OPERA PROGRAMâ&#x20AC;&#x201D;Red Hot and Cole, April 27-30, 2017

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When you have that newlywed glow, everything seems rosy. So when Jean Richter started feeling short of breath, she wasn’t initially concerned. But then her symptoms worsened and her beloved husband, Dave, had to rush her to the Foothills Hospital Emergency Department. Jean was diagnosed with heart failure, a chronic condition that has a 50% survival rate within five years of diagnosis if not treated correctly. Luckily for Jean, Boulder Community Health recently opened the first specialized Heart Failure Clinic in Boulder County. Dr. Scott Blois’s expertise with the latest treatment options set Jean on a remarkable journey back to a full active life. “I have a wonderful husband, five incredible daughters and 13 grandkids I adore,” says Jean. “I’m so happy we can hike, travel and have fun together again.” Read Jean’s story at bch.org/healinghearts or call 303-442-2395 for information about Boulder County’s first Heart Failure Clinic.

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A mutual admiration society Aspiring artists, remember this: A well-rounded education never hurt anyone. That’s what Bud Coleman learned when he tore his hamstring muscle after a stint with the prestigious Ballets Trockadero de Monte Carlo. If dance had been the only skill on his resume, it could have been a career-ending disaster. Luckily, the theatre arts graduate had a lot more knowledge up his sleeve. “Through a series of introductions, I was hired into the wardrobe department of New York City Opera,” he says. It was the perfect place for a theatre man; in keeping with its mandate to be the “people’s opera,” NYCO had just expanded its repertoire to include musical theatre. Coleman, who today serves as chair of Theatre & Dance at CU Boulder, can dance, sing, act, direct, perform in drag and think outside the box on command. So it’s no wonder that he and the Eklund Opera Program have reached across the aisle for countless collaborations.

These days, Coleman is grateful for his crossover training: It means he can work with all kinds of artists, from theatre students to dancers to Colorado Shakespeare Festival directors to singers involved in CU’s New Opera Workshop Composer Fellows’ Initiative, which Coleman staged and directed in 2015. Mueller lauds Coleman’s work with CU NOW and emphasizes just how much effort, creativity and vision it must have taken to direct the project. “He had to do all the legwork to come up with concepts and designs and build the characters,” he says. “These pieces didn’t exist before he put them on their feet, so he couldn’t just Google what someone else did—there’s no cheating. “On top of all that,” Mueller adds, “He’s just the nicest man you could ever know.” Red Hot and Cole: April 27-30, Music Theatre | tickets start at $20

Over the last few years, Coleman has danced a mean high-heeled tango in “Die Fledermaus”; he’s directed stagings of student opera scenes for the Composer Fellows’ Initiative; and he’s even set to direct Eklund Opera’s “Red Hot and Cole,” a salute to Cole Porter, this spring. “Having him as a resource just down the street in Theatre & Dance not only to take on a role but to dive into a production headfirst is a plus for the opera program,” says Ron Mueller, interim director of Eklund Opera. “He leads by example for the students, putting his all into every production.” Coleman says he learned to be a Renaissance man out of necessity. In the late 20th century, Broadway directors began to demand that auditionees for new musicals such as “Song and Dance,” “The Phantom of the Opera” and “South Pacific” come with experience in acting, singing and dancing. “In many ways, Jerome Robbins, Leonard Bernstein, Stephen Sondheim and Arthur Laurents changed the landscape in 1957 with ‘West Side Story,’ where there were no separate dance or singing ensembles,” Coleman says. “Everyone had to do everything; you had to be a triple-threat performer.”

Bud Coleman as Frosch in 'Die Fledermaus'

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CU NOW: Leading a new wave of opera This summer, Eklund Opera’s trailblazing new works program—CU New Opera Workshop, or CU NOW— pulls out all the proverbial stops in its latest quest to bring what’s fresh and exciting about opera to the campus of CU Boulder. Since CU NOW’s founding in 2010, the likes of Opera Colorado’s Lori Laitman, composer Libby Larsen and titans Jake Heggie and Gene Scheer have called this three-week workshop home. This year is no different. Continuing the momentum of 2016’s workshopping of Heggie and Scheer’s “It’s a Wonderful Life,” CU NOW 2017 will host composer Mark Adamo and a revision of his opera “The Gospel of Mary Magdalene,” which already had its premiere in San Francisco. “CU NOW allows the composer to not just workshop a new piece but also rework it,” says Jeremy Reger, music director. “Because Mark has such strong feelings for this piece, he’s reworking it using CU NOW as his forum.” Ron Mueller, Eklund Opera technical director and interim program director as Leigh Holman takes a sabbatical, says CU NOW’s mission has always been to expose students and audiences to the cutting edge of an artform so defined by its history. “We also want to create an avenue to give composers a place to try out works in progress. Our slogan from the

first year was, ‘Bringing opera from score to floor.’” The other arm of CU NOW, the Composer Fellows’ Initiative, ventures into new territory for 2017 as well. CFI connects composition students with singers and opera professionals to perfect scenes they’ve written. New for this year, CFI partners with the CU Film Studies department to develop film footage to accompany the scenes. “Projection use in opera production is a brand new field that is enjoying lots of innovation and experimentation,” says Daniel Kellogg, associate professor of composition. “We’re all excited to see what [these filmmakers] come up with.” Exploration and innovation don’t just define CU NOW. They’re ideas that run through the fabric of Eklund Opera. Says Reger, “Many colleges and opera companies are just jumping on this exciting bandwagon of new opera, but [Eklund Opera director] Leigh Holman’s insight into this progressive movement established Boulder as an exciting forefront for new opera.” The Gospel of Mary Magdalene: June 16 & 18, Music Theatre | free Composer Fellows’ Initiative Showcase: June 17, ATLAS Black Box Theater | free

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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 world-class 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.

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Takács Society

The Takács Society, formed by the College of Music, provides the critical resources to support the work of the Takács Quartet—to advance their teaching endeavors, provide scholarships that are essential to attract and retain exceptionally gifted young artists, and sponsor guest artists in the Takács performance series.

Benefactor

Albert and Nancy Boggess Lyle Bourne and Rita Yaroush Norma Johnson in memory of Fay Shwayder Gary and Judith Judd in memory of Fay Shwayder Takács String Quartet

Sponsor

P.J. Decker and B.A. Saperstein Carol Lena Kovner David and Janet Robertson Marion Thurnauer and Alexander Trifunac

Patron

Thomas and Carol Cech Chris and Barbara Christoffersen Lauren Frear John and Carson Taylor

Supporter

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Member

Anonymous Christine Arden and David Newman Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Ingrid Becher Kevin and Diana Bunnell Shirley Carnahan Penny Chenery Noel A. and Pauline A. Clark Charlotte Corbridge Richard and JoAnn Crandall Barbara and Carl Diehl Jean and Bob Fischer Lloyd and Mary Gelman Ken and Dianne Hackett Catharine and Richard E. Harris John and Ruthanne Hibbs Elizabeth and Jonathan Hinebauch William Hoffman Ruth and Richard Irvin Bruce and Kyongguen Johnson Jennifer and Bob Kamper Caryl and David Kassoy Mireille Key Alice and Judah Levine Albert and Virginia Lundell Heidi and Jerry Lynch

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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 Advancement Office at 303-735-6070.

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Friends of Eklund Opera

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 Eklund Opera. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting Eklund Opera, please contact our Advancement Office at 303-735-6070.

Benefactor

Contributor

Anonymous David Allen and Carol DeBaca Paul Eklund Robert Stuart Graham Robert Martin The Academy Charitable Foundation, Inc.

Sponsor

Alan and Martha Stormo

Patron

Chris and Barbara Christoffersen Jack Finlaw and Gregory Movesian Lloyd and Mary Gelman Albert and Betsy Hand Gordon and Mitzi Ledingham Krista Marks and Brent Milne Antoinette and Douglas Shaller Ken and Ruth Wright in memory of Mayme Lacy

Supporter

Anonymous Norman and Vivian Belmonte Stephen Dilts Martha Coffin Evans and Robert Trembly John Hedderich Bob and Mikee Kapelke Mikhy and Mike Ritter Bob and Lori Schuyler Lawrence and Ann Brennan Thomas

Jim and Judy Bowers Ellen and John Gille Susan Graber Harold and Joan Leinbach Heidi and Jerry Lynch Claudia Boettcher Merthan Dennis Peterson Dave and Ann Phillips Gail Promboin and Robert Burnham R. Alan and Stephanie Rudy M. L. Sandos Cynthia and Paul Schauer Carol and Randall Shinn Theodore and Ruth Smith Helen Stone Peter Wall

Grants

Denver Lyric Opera Guild Galen & Ada Belle Spencer Foundation Louis and Harold Price Foundation The Schramm Foundation

Member

Anonymous Judith Auer and George Lawrence Jeanie Davis Walter Duncan Donald and Beverly Eklund Joseph and Beverly Elinoff Alexander R. George and Yi-Ting Hsu Janet Hanley Norman Clark Lane Kenneth L. Levinson and Shauna Titus Levinson Patricia and Robert Lisensky Bruce Mackenzie Michael Magan Marian Matheson Byron and Catharine McCalmon Donna Meckley Kathleen and John Ness Margaret Oakes Robert and Marilyn Peltzer Kim and Richard Plumridge Juan and Alicia Rodriguez Ruth Shanberge Becky Roser and Ron Stewart Ruth Schoening JoAnn Silverstein and Nevis Cook Carol and Art Smoot Walter Taylor Gretchen Vanderwerf and Gordon Jones

About the Eklund Opera Program

Recognizing the importance of the arts and live vocal performance in an increasingly distracted world, longtime Boulder resident Paul Eklund made a generous gift in October 2014 to help establish a $2 million endowment at the CU Boulder College of Music. Funding from the endowment helps support three opera productions each academic year, the CU New Opera Workshop and an opera scenes program for new students. From left: Paul Eklund Leigh Holman, Director of Opera Robert Shay, College of Music Dean

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Personnel

Staff

Joan McLean Braun, Executive Director Laima Haley, Marketing and P.R. Director Jessie Bauters, Assistant Director of Communications and Web Administrator Daniel Leonard, Marketing Manager Jill Kimball, Public Relations Manager Morgan Gallo, Social Content Creator Maureen Bailey, Communications Assistant Analise Iwanski, Graphic Design Assistant Emma Salvati and Jackson Xia, Video Producers Emily K. Harrison, Publications Specialist Heather MacDonald, Distributions Coordinator Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Manager Box Office Assistants: Elise Campbell, Taralynn Dorr, Adrienne Havelka, Megan Quilliam, Chris Ruiz, Karen Van Acker Kevin Harbison, Recording Engineer Michael Johnston, Financial Manager Jeni Webster, Membership Benefits Coordinator

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: Jill Kimball Program Layout: Emily K. Harrison

College of Music Dean's Cabinet

Robert Shay, Dean James Austin, Associate Dean for Enrollment Management and Undergraduate Studies Joan McLean Braun, Assistant Dean for Concerts and Strategic Communications Steven Bruns, Associate Dean for Graduate Studies John Davis, Associate Dean for Faculty Affairs and Operations Lissy Garrison, Assistant Dean for Advancement Alexander George, Executive Assistant to the Dean

David Mallett, Senior Director of Budget and Finance

College of Music Advisory Board Mikhy Ritter, Chair Sue Baer Jim Bailey Christopher Brauchli Bob Bunting Jan Burton Bob Charles Paul Eklund Bill Elliott Martha Coffin Evans Jonathan Fox David Fulker Grace Gamm Lloyd Gelman Doree Hickman

Patron Info Accessibility and Parking

Photography and video recordings Macky Auditorium is fully wheelchair of any type are strictly prohibited accessible; ADA-accessible parking during the performance. is available nearby. Please call the Box Office as early as possible to Food is permitted in the seating areas of Macky Auditorium but is make arrangements. prohibited in other campus venues Paid parking is available in the Euclid unless otherwise noted. Avenue Autopark Lot 310 and Lot 204. Contact the Box Office or check Smoking is not permitted anywhere. the CU Presents website for more CU Boulder is a smoke-free campus! information.

Daryl James Maria Johnson Caryl Kassoy Robert Korenblat Kathy Kuscan Erma Mantey Ben Nelson Joe Negler Susan Olenwine Tom Price Becky Roser Firuzeh Saidi Jeannie Thompson Jack Walker

CU Presents Box Office cupresents.org 303-492-8008

Ticket Sales are final; no refunds.

Exchanges are subject to availability and must be made at least one business day prior to the day of performance. Subscribers may exchange tickets for free. Single ticket exchanges are subject to a $3 exchange fee. Upgrade fees may apply in all cases. Please return your tickets to the Box Office prior to the performance if you are unable to use them.

Please note that the Euclid Autopark will be closed through March due to construction.

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