Global performance. World-class entertainment. You have to be here.
2016-2017 Season
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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
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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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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
coloradoshakes.org
by Tom Stoppard
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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Free Parking: AVAILABLE ON ALL FOUR SIDES IN THE VILLAGE AT ARAPAHOE & CANYON
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Sir James Galway is generously sponsored by:
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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.
For subscription information call 303.444.3444 or visit DailyCamera.com.
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Honest, Thoughtful, Experienced. With over 40 years of experience as a Realtor, Eric’s direct approach has kept him as a top producer. RE/MAX “Hall of Fame” & “Lifetime Achievement” Awards
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2016 -17 SEASON The Boulder Phil Goes to Washington, DC: “NATURE & MUSIC” CONCERTS Sat., Mar. 25, 7:30 PM Macky Auditorium Tue., Mar. 28, 8 PM Kennedy Center, DC LIAS All the Songs that Nature Sings
Commemorating the 100th anniversary of the National Park Service with choreographed visuals
PINES OF ROME Sat., Apr. 22, 7:30 PM Macky Auditorium
MIDKIFF Mandolin Concerto
VERDI Overture to Nabucco PUCCINI The
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Charles Wetherbee, violin; Nicolò Spera, guitar Respighi’s The Pines Of Rome
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Music sounds better when you know more . Listen, study, enjoy—with CPR Classical.
“Music Forward” Saturdays at 7 p.m. on CPR Classical Explore music of the past century through musician interviews and discussion of Colorado’s contemporary performances.
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Photo: The Great Green, by Joanna Rotkin, Joanna and the Agitators joannaandtheagitators.com Selected As
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Program String Quartet No. 67 in F Major, Op 77 No. 2, Hob.111:82 “Lobkowitz” Allegro moderato Menuetto (Presto, ma non troppo) Andante Finale (Vivace assai)
Franz Josef Haydn (1732-1809)
Two Songs for Contralto, Viola and Piano, Op. 91 No. 2 Gestillte Sehnsucht (Stilled Longing) Geistliches Wiegenlied (Spiritual Lullaby)
Johannes Brahms (1833-1897)
Abigail Nims, alto Geraldine Walther, viola Margaret McDonald, piano Intermission String Quartet No.16 in F Major, Op. 135 Allegretto Vivace Lento assai, cantante e tranquillo Grave, ma non troppo tratto (“Muss es sein?/Must it be?”) — Allegro (“Es muss seen!/ It must be!”) | 303-492-8008 | cupresents.org | Get Soci@cupresents |
Ludwig van Beethoven (1770-1827)
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Edward Dusinberre, violin Károly Schranz, violin Geraldine Walther, viola András Fejér, cello
Program Notes
TA K Á C S Q U A R T E T — M a r c h 1 9 - 2 0 , 2 0 1 7
String Quartet No. 67 in F Major, Hob.111:82 “Lobkowitz” Back at the turn of the 18th century, you might expect a composer approaching the age of 70 to create music that is reflective, world-weary, accepting of fate and all that. There’s no sign of such introspection in Haydn’s bubbly, occasionally witty second quartet of Op. 77. Written in 1799 when Haydn was 67 and firmly established as one of Europe’s grand old men of music, the F Major turned out to be the composer’s last completed string quartet. Not that he was in good health: A subsequent unfinished piece of only two movements, published as Op. 103, carried a note from Haydn: “Gone is all my strength, old and weak am I.” Friends who visited the composer sadly reported on his failing health. The fact that the published Op. 77 consisted of only two quartets, rather than the traditional half dozen, seems to confirm that Haydn was becoming, as he confessed with Op. 103, too old and weak to submit six to his publisher. Yet, it’s worth knowing that, while he worked on Op. 77, he was busily finishing his oratorio, The Creation. It appears he had every intention of completing six, as he had been commissioned to do by Prince Joseph Lobkowitz (Op. 103 was likely part of that proposed set). Here’s an interesting side note on the music-loving prince: In 1798, he assigned the young and eager Beethoven, Vienna’s rising star, to create what would be his first set
of six string quartets, which were published in 1802—one year before Haydn’s Op. 77. By extending an invitation to Beethoven and Haydn, was Lobkowitz creating a challenge for the elder composer to match wits with the new kid in town? If not overtly meant as such, was this commission perhaps approached by Haydn as an opportunity to show the youthful Beethoven (a former student) his mastery of a genre he had honed and perfected over the decades? It’s easy for us to think of those two Lobkowitz commissions as symbolizing a dramatic changing of the guard. Better to let the music speak for itself. Young Beethoven was still becoming his own man, showing numerous flashes of genius in those remarkable quartets of Op. 18, while still under the influence of Haydn and Mozart. Meanwhile, Haydn, as always, remained true to himself in Op. 77, displaying lovely melodies, superb craftsmanship, touches of youthful wit and enough unexpected twists and turns to remind us that his music would never become passé. There is freshness everywhere in the F-major Quartet: a disciplined compactness in the opening Allegro, a charming joviality in the Minuet (really more of a Scherzo than a dance movement), a novel duet for violin and cello to begin the Andante and, to speak to us once more of Haydn’s greatness, a richly scored, nonstop finale.
Two Songs for Contralto, Viola and Piano, Op. 91 These two achingly beautiful songs provide a touching portrait of the longtime friendship of Brahms and the brilliant violinist/violist Joseph Joachim. Sad to report, their friendship was not always friendly. The first song, Gestillte Sehnsucht (“Stilled Longing”), was written in the happy year of 1864, presented to Joachim and his bride, the mezzo soprano Amalie Schneeweiss, who was expecting the birth of a son, Johannes, for whom Brahms would serve as godfather. This appropriately soothing lullaby is scored for alto, viola and piano—clearly intended for these three dear friends to perform together. Fast forward 20 years and the picture changes dramatically for these three. In 1884, Joachim filed for divorce, suspecting that Amalie was having an affair with Brahms’ publisher, Fritz Simrock. She emphatically denied the accusation, but the case went to court, where a letter of support for Amalie penned by Brahms was entered as testimony. With Amalie’s honor defended by Brahms, Joachim felt betrayed and declared an end to his long, fruitful friendship with the composer (whose Violin Concerto was written with, and for, Joachim). Out of this crisis would emerge two glorious works, Brahms’ Concerto for Violin and Cello, submitted to his estranged friend as an olive branch and completed three years after a second piece for alto, viola and piano, Geistliches Wiegenlied (“Spiritual Lullaby”), which the composer packaged with the earlier
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Franz Josef Haydn
Johannes Brahms
song as a peace offering. Alas, it failed to mend the split, though the Double Concerto did serve to reunite the two men a few years later. In a lovely gesture, Brahms begins this second song with a quote from the Christmas lullaby, Joseph, lieber Joseph mein (originally known as Resonet in laudibus). To make sure that Joachim got his pleading message, the composer even wrote the corresponding lyrics under the viola’s melody, translated as “Joseph, my dear Joseph, help me rock my little child.” Though the texts of the two songs were penned by different hands (“Stilled Longing” by Friedrich Rückert, “Spiritual Lullaby” translated from a poem by Lope de Vega), they share similar images. Compare the references to wind in the trees—sweetly whispering along with the birds, or threateningly rattling the upper branches. And each song features middle verses that disturb the quiet of a mother’s lullaby as she sings to her sleeping child. Brahms wrote more than 200 songs for voice and piano, but these are the only two augmented by a third musical line. It’s a wise choice to add a viola, rather than violin, since its rich, lower register melds perfectly with the singer’s mid-range. Here, the piano offers simple, understated accompaniments, content with letting the other parts—representing the Joachims—take the lead. This is Brahms at his most appealing and most appeasing. Lovely melodies from a loyal and trusting friend.
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Program Notes String Quartet No.16 in F Major, Op. 135
huge challenges to the players, particularly in the rhythmic twists and turns of the wild second movement. But then, a prayer-like third movement offers a reminder of Beethoven’s singular ability to lift his music to a higher spiritual plane, with a melody sung in the four instruments’ lower ranges. The enigmatic Beethoven emerges in the final movement, titled by the composer, Der schwer gefasste Entschluss (“The difficult resolution”). Had he known the head-scratching this would cause generations of scholars, he might have chuckled. And if that title weren’t puzzling enough, right below those words is a single line of music, divided in two segments. The first is marked Grave, the second, Allegro. The first section features three notes, with the words “Muss ess sein?” (“Must it be?”) underneath; the second replies with the repeated exclamation, “Es muss sein!” (“It must be!”). These motifs form the basis of the movement’s two main ideas: the anguished introductory section, marked Grave, and the Allegro theme. But what did Beethoven mean with that question and reply? Some scholars point to a squabble between the composer and a music lover and concert organizer named Dembscher, involving payment for a manuscript of Op. 130. When informed of the bill, Dembscher reportedly asked, “Must it be?” Told of this, Beethoven wrote a four-voice canon on the words, “It must be! Yes, take out your wallet”—its theme relating to the exclamation in Op. 135. On the other hand, Beethoven wrote to his publisher that this would be his final quartet, confessing how difficult that decision was. Facing inevitability, he posed that simple question, then declared in his note that yes, it must be.
Texts & Translations Gestillte Sehnsucht In gold’nen Abendschein getauchet, Wie feierlich die Wälder stehn! In leise Stimmen der Vöglein hauchet Des Abendwindes leises Weh’n. Was lispeln die Winde, die Vögelein? Sie lispeln die Welt in Schlummer ein.
Stilled Longing Steeped in a golden evening glow, how solemnly the forests stand! In gentle voices the little birds breathe into the soft fluttering of evening breezes. What does the wind whisper, and the little birds? They whisper the world into slumber.
Ihr Wünsche, die ihr stets euch reget Im Herzen sonder Rast und Ruh! Du Sehnen, das die Brust beweget, Wann ruhest du, wann schlummerst du? Beim Lispeln der Winde, der Vögelein, Ihr sehnenden Wünsche, wann schlaft ihr ein?
You, my desires, that stir in my heart without rest or peace! You longings that move my heart, When will you rest, when will you sleep? By the whispering of the wind, and of the little birds? You yearning desires, when will you fall asleep?
Was kommt gezogen auf Traumesflügeln? Was weht mich an so bang, so hold? Es kommt gezogen von fernen Hügeln, Es kommt auf bebendem Sonnengold. Wohl lispeln die Winde, die Vögelein, Das Sehnen, das Sehnen, es schläft nicht ein.
What will come of these dreamy flights? What stirs me so anxiously, so sweetly? It comes pulling me from far-off hills, It comes from the trembling gold of the sun. The wind whispers loudly, as do the little birds; The longing, the longing - it will not fall asleep.
Ach, wenn nicht mehr in gold’ne Fernen Mein Geist auf Traumgefieder eilt, Nicht mehr an ewig fernen Sternen Mit sehnendem Blick mein Auge weilt; Dann lispeln die Winde, die Vögelein Mit meinem Sehnen mein Leben ein.
Alas, when no longer into the golden distance does my spirit hurry on dream-wings, when no more on the eternally distant stars does my longing gaze rest; Then the wind and the little birds will whisper away my longing, along with my life.
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Just as Haydn’s final completed string quartet, heard earlier, surprises with its jovial mood even as the composer’s life was ebbing away, so too does much of Beethoven’s last completed quartet emerge as an enjoyable romp. Coming on the heels of a series of “late” quartets that wrestled with profound thoughts and explored new musical worlds over the course of lengthy, multiple movements, Op. 135 returns to the modest length and traditional four-movement structure of his Op. 18 Quartets, dating back a quarter century. There is a playfulness here (its ending is almost childlike), which belies the fact that all was not well with Beethoven as he worked. With his health starting to fail, after Op. 135 he would complete only an alternate ending to the B-flat Quartet, Op. 130, from the previous year. What’s more, he was also dealing with the attempted suicide of his troubled nephew Karl, whose cause Beethoven had championed with unstoppable zeal. The boy was nursed back to health by Beethoven at the country home of the composer’s brother in October of 1826, when work was completed on Op. 135. His life ended the following March. It seems confounding to place this relatively brief and contented work in the context of the previous otherworldly quartets. Consider the distance covered from first quartets to last, which reveal an enormous leap from the past—Haydn and Mozart—into the future world of 19th-century romanticism and 20th-century modernism. The F Major Quartet begins with a warm welcome, in a graceful, accessible Allegretto, built around a sweet, fournote idea that distributes question-and-answer episodes with equanimity. Despite its pleasant demeanor, Op. 135 offers
Ludwig van Beethoven
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Texts & Translations Geistliches Wiegenlied Die ihr schwebet Um diese Palmen In Nacht und Wind, Ihr heilgen Engel, Stillet die Wipfel! Es schlummert mein Kind.
Spiritual Lullaby You who hover Around these palms In night and wind, You holy angels, Silence the treetops, My child is sleeping.
Ihr Palmen von Bethlehem Im Windesbrausen, Wie mögt ihr heute So zornig sausen! O rauscht nicht also! Schweiget, neiget Euch leis und lind; Stillet die Wipfel! Es schlummert mein Kind.
You palms of Bethlehem In the roaring wind, How can you today Bluster so angrily! O roar not so! Be still, bow Softly and gently; Silence the treetops! My child is sleeping.
Der Himmelsknabe Duldet Beschwerde, Ach, wie so müd er ward Vom Leid der Erde. Ach nun im Schlaf ihm Leise gesänftigt Die Qual zerrinnt, Stillet die Wipfel! Es schlummert mein Kind.
The child of heaven Endures the discomfort, Oh, how tired he has become Of earthly sorrow. Oh, now in sleep, Gently softened, His pain fades, Silence the treetops! My child is sleeping.
Grimmige Kälte Sauset hernieder, Womit nur deck ich Des Kindleins Glieder! O all ihr Engel, Die ihr geflügelt Wandelt im Wind, Stillet die Wipfel! Es schlummert mein kind.
Fierce cold Comes rushing, How shall I cover The little child’s limbs? O all you angels, You winged ones Wandering in the wind. Silence the treetops! My child is sleeping.
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The Takács Quartet, now entering its 42nd season, is renowned for the vitality of its interpretations. The New York Times recently lauded the ensemble for “revealing the familiar as unfamiliar, making the most traditional of works feel radical once more,” and the Financial Times described a recent concert at the Wigmore Hall: “Even in the most fiendish repertoire these players show no fear, injecting the music with a heady sense of freedom. At the same time, though, there is an uncompromising attention to detail: neither a note nor a bow-hair is out of place.”
The Takács became the first string quartet to win the Wigmore Hall Medal in May 2014. The Medal, inaugurated in 2007, recognizes major international artists who have a strong association with the Hall. Appointed in 2012 as the first-ever Associate Artists at Wigmore, the Takács present six concerts every season there. In 2012, Gramophone announced that the Takács was the only string quartet to be inducted into its first Hall of Fame. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London. In 2006 the Takács Quartet made their first recording for Hyperion Records, of Schubert’s D804 and D810. Since then, they have earned two Grammy nominations and
The Takács Quartet
recorded works by Brahms, Schumann, Haydn, Schubert, Shostakovich, Britten and Janáček. Their most recent release is of the Debussy Quartet and the Franck Piano Quintet with Marc-André Hamelin. The Quartet’s awardwinning recordings include the complete Beethoven Cycle on the Decca label. In 2005 the Late Beethoven Quartets won Disc of the Year and Chamber Award from BBC Music Magazine, a Gramophone Award, Album of the Year at the Brit Awards and a Japanese Record Academy Award. Their recordings of the early and middle Beethoven quartets collected a Grammy, another Gramophone Award, a Chamber Music of America Award and two further awards from the Japanese Recording Academy. The members of the Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder and play on instruments generously loaned to them by the Shwayder Foundation. Visit us on Facebook at www.facebook.com/takacsquartet.
Biographies Mezzo soprano Abigail Nims has established herself as a musician of integrity and versatility, continuing to garner praise for her committed performances of repertoire, spanning from the baroque to contemporary premieres. Nims has appeared with opera companies throughout the U.S. and abroad, including Wexford Festival Opera, Atlanta Opera (Veruca Salt in Peter Ash’s The Golden Ticket), New York City Opera (Lazuli in L’Étoile), Palm Beach Opera (Despina in Così fan tutte), Florentine Opera (Nancy in Albert Herring), Orchestra Sinfonica di Milano Giuseppe Verdi (Dinah in Trouble in Tahiti), Opera Virginia (Prince Orlofsky in Die Fledermaus), Opera New Jersey (Zerlina in Don Giovanni), Gotham Chamber Opera (Zefka in Scenes of Gypsy Life), Opera Grand Rapids (Despina in Così fan tutte and Zerlina in Don Giovanni), the Princeton Festival (Hermia in A Midsummer Night’s Dream), Opera Delaware (Meg in Little Women and Cherubino in Le nozze di Figaro), and Opera North (Tessa in The Gondoliers). Particularly praised for her interpretations and tonal beauty in the concert repertoire, Nims has performed as a soloist with the San Francisco Symphony (Bach’s Mass in B Minor); the Saint Paul Chamber Orchestra (Stravinsky’s Pulcinella, Crumb’s Night of the Four Moons and Haydn’s Harmoniemesse), the Baltimore Symphony (Handel’s Messiah); the São Paulo Symphony (Bach’s Magnificat); Teatro Municipal in Santiago, Chile (Mahler’s Symphony No. 2); the Adrian Symphony (Berlioz’s Les Nuits d’été); the Quad City Symphony (Mozart’s Requiem and as Octavian in selections from Der Rosenkavalier); the New England String Ensemble (George Benjamin’s Upon Silence and Vivaldi’s Stabat Mater); the Norfolk Chamber Music Festival (Liebeslieder Walzer); the ProMusica Chamber Orchestra (Messiah); and with the Masterwork Chorus at Carnegie Hall (Messiah). In recital, she has recently appeared at Trinity Church, Wall Street; at St. Ignatius Church in Wexford, Ireland, on the Wexford Festival Opera’s recital series; and as guest alumna at Ohio Wesleyan University. Her recordings include Martin Bresnick’s song cycle Falling, featured on the composer’s album Every Thing Must Go (Albany Records, 2010) and the role of Veruca Salt in Peter Ash’s The Golden Ticket (Albany Records, 2012). Nims has received awards from distinguished foundations and institutions including the Fritz and Lavinia Jensen Foundation Competition, Santa Fe Opera, the Carmel Bach Festival, Yale School of Music and the American Bach Society/Bach Choir of Bethlehem Competition. Originally from Delaware, Ohio, she holds degrees from Yale School of Music (Dean’s Prize
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During the 2016-2017 season, the ensemble will perform complete six-concert Beethoven quartet cycles in London’s Wigmore Hall, at Princeton University, at the University of Michigan and at UC Berkeley. European engagements in 2016-17 include Florence, Milan, Geneva, Amsterdam and Paris. They will present concerts in Singapore, Japan and Hong Kong and will also tour New Zealand and Australia.
Biographies
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recipient), Westminster Choir College (with honors) and Ohio Wesleyan University (summa cum laude). She was twice a member of the Apprentice Singer Program at Santa Fe Opera and was a Virginia B. Adams fellow with the Carmel Bach Festival. She studied German in Vienna with the Austria-Illinois Exchange Program. Prior to joining the faculty of CU Boulder, Nims taught voice at the University of California, Berkeley, and at Yale University. Pianist Margaret McDonald, a native of Minnesota, is an associate professor of collaborative piano at the University of Colorado Boulder. She joined the College of Music keyboard faculty in the fall of 2004. She helped to develop the College’s graduate degree program in collaborative piano and the undergraduate collaborative curriculum. Praised for her poetic style and versatility, McDonald enjoys a very active performing career and has partnered with many distinguished artists including the Takács Quartet, Kathleen Winkler, Zuill Bailey, Paula Robison, Carol Wincenc, Ben Kamins, David Shifrin, William VerMeulen, David Jolley, Ian Bousfield, Steven Mead and Velvet Brown. McDonald received her Bachelor of Music and Master of Music degrees in piano performance from the University of Minnesota and a Doctor of Musical Arts degree in collaborative piano from the University of California, Santa Barbara. Her principal teachers include Lydia Artymiw and Anne Epperson. She received fellowships to study at both the Music Academy of the West and the Tanglewood Music Center, where she worked closely with Dawn Upshaw and Osvaldo Golijov. Margaret McDonald has been a staff accompanist at the Meadowmount School for Strings in New York and an official accompanist at the Music Teachers National Association competition and the National Flute Association annual convention. McDonald spends her summers as a member of the collaborative piano faculty at the Music Academy of the West in Santa Barbara, California.
Audience Spotlight We have greatly enjoyed receiving your responses to the questionnaire and will continue to print them in the spring programs. For those of you who would still like to participate, please send your answers to: edward.dusinberre@colorado.edu. Beth Barrett
I have been a season ticket holder since I moved to the Boulder area seven years ago. My love for chamber music started when I was a junior in high school. My choir teacher loaned me a recording of two of Mozart’s string quartets dedicated to Haydn. That furious descending cascade in the cello line of the fourth movement of K.387! I never got over it. I was a middling pianist, but I nevertheless went on to get a degree in music history, followed by graduate work in music librarianship. The music part of the latter I never used, since I married an academic whose specialty was even narrower than mine. But having the background has allowed me to enjoy chamber, orchestral and vocal music throughout my life. We’re fortunate to live in a time when locating and listening to recorded music is simple and fast, but the joy of a live concert is another experience entirely. (How would sonata form have developed if there had been recordings around, I wonder?) I am sure all of you have those indelible memories of the first time you heard something live, as I did hearing my first Mahler symphony (the Fourth, at Blossom with the Cleveland Symphony, Jessye Norman and Lorin Maazel). Spectacular music, but hearing it live was almost literally transporting. Music is my constant companion. It has accompanied me through the happiest and saddest times of my life, enriching the former and providing solace in the latter. I am so happy to have this opportunity to tell you how much the Takacs concerts have meant to me. I moved to Louisville not long after my husband died, having taken a demanding job in a place where I knew no one. Your concerts, along with those of the Friends of Chamber Music in Denver, were anchors for me.
David-Michael and Glenda Monasch
Glenda and David-Michael are founders of Sound Circle Eurythmy. Through a variety of modest and more extensive performance projects, as well as public classes and the professional training program, we seek to make eurythmy more accessible to wider audiences while still remaining true to its roots and traditions. We have lived in the Boulder area since 2003—when we came for our son to attend Tara Performing Arts High School. At that time he was also a violin student of Barbara Barber. We thought we’d move back to Seattle when our son graduated, but we came to love Colorado—so here we still are! We’ve been coming to Takács concerts for at least seven years, but we don’t recall exactly how many!
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Audience Spotlight David-Michael has known chamber music most of his life, his parents both being German, but only really became more interested in the course of his eurythmy training in Germany and Switzerland from 1977 to 1981. Glenda listened to classical music from a very young age in the wild bush of southern Africa. She could often be found dancing to it, with the whole family gathered around the radio to listen to classical broadcasts together. David-Michael plays rudimentary piano, the modern Choroi lyre, pentatonic flute and chime bars, mountain dulcimer, some simple drums, etc. Glenda’s instrument is her voice. And our main instruments are our bodies. As teaching and performing eurythmists, we attempt to make the singing and speaking of the soul visible through the instrument of the body!
No matter how tired we are from long days, and often thinking “let’s just stay home,” when we pull ourselves together and go out to a concert we are almost always grateful for the effort—feeling renewed and refreshed to be allowed to experience live music—and especially the Takács Quartet!
Lloyd and Mary Gelman
We have been in town since 1970 and began attending Takács concerts from the beginning, probably beginning in the early 1980s. (God bless Denes Koromzay, who was the violist with the Hungarian Quartet and later with the New Hungarian Quartet and was on the string faculty at CU in the 1970s; he was instrumental in getting the Takács Quartet to come to CU.) I don’t play myself, but I had an epiphany around age 13, listening to the Franck Symphony in D minor, when music opened up and began to speak to me, and it has been a passion ever since. Chamber music took longer to appreciate, but I had a similar epiphany hearing the Budapest string Quartet play the Beethoven String Quartet No. 7 in a lovely intimate auditorium, the Rackham Auditorium, in the late 1950s in Ann Arbor, Michigan. Once these appreciations develop, they do last. Opera came later, but it is a particularly pernicious habit to try to give up. I haven’t been able to stop the severe addiction. The Takács performances have been wonderful, but a few things disappoint me. I was hoping for drums, rap lyrics and a conductor waving his arms around with a baton. Without a conductor, there is really nothing to watch. Some catchy little dance steps might help too. Seriously, though, it is great to hear old friends performed excitingly. Some of the newer pieces, even Bartók, are challenging, but to be exposed to your sparkling performances is superb. Thank you. And Marc Shulgold’s notes are much appreciated too.
Louise Pinkow
We’ve been in Boulder since 1980 and have been attending Takács concerts since they began. It has been one of the most important aspects of being in Boulder, and we make sure our friends in other places know when you are available in their areas. I grew up with chamber music. My parents were good amateur musicians and had frequent sessions with their friends in our home. They put instruments in our hands as soon as we were able to handle them and provided lessons from the beginning. As a matter of fact, I was started on the violin, but when I was close to catching up with my older sister, they and our violin teacher decided I should be switched to another instrument (against my will). They decided on flute, because our violin teacher declared the flute professor at the university was the best musician in Tulsa. Probably true. I was always happy playing in orchestras but didn’t care much for band music—and hated marching, when that was necessary as a college student. I was also always happy with chamber music when my colleagues were good. My absolute favorite work is the Brahms Piano Quintet. Beyond that, any chamber works by the classicists and many 20th century composers. I’m easy to please if something is well played.
Keep in touch and tell us how we’re doing! Tell us where you found out about today’s performance, and send us your email to be added to our music events mailing list by texting: 612-888-3403 All data is confidential. Phone numbers will not be collected or used
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Favorite music pieces include Britten’s Lachrymae, Beethoven’s Violin Concerto and almost anything by Arvo Pärt, but especially Für Alina.
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Coming soon... Sir James and Lady Jeanne Galway and Friends
80th Anniversary
Wednesday, March 22 at 7:30 p.m. Macky Auditorium, tickets $30 and up
Tickets are selling quickly! Check availability at cupresents.org “The man with the golden flute”—Classical Sonoma
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Ars Nova Singers Our 31st Season 2016-2017 In Concert at The Dairy, with Frequent Flyers
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WE MENDED A FAILING
HEART ALIVE
AND KEPT THEIR ROMANCE
Inspire/Respire: Music in the Air – Nov 18, 19, 20 A Colorado Holiday Tradition
Christmas with Ars Nova – December 9, 10, 11 Music of the Renaissance
Voices & Viols – February 25, 26 Rachmaninoff’s “Other” Masterpiece
Liturgy of St. John Chrysostom – April 28 & 29 tickets/info:
www.arsnovasingers.org
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.
Boulder Heart Anderson Medical Center 4743 Arapahoe Ave., Suite 200 in Boulder Medicare accepted
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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.”
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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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Artist Series 80th Anniversary
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.
Gil Berman Rudy Betancourt Joan McLean Braun Shirley Carnahan
John Davis Diane Dunn Mike Gallucci
Benefactor
Mark and Margaret Carson Diane and Richard Dunn Paul Bechtner Foundation Greg Silvus
Sponsor
Gil and Nancy Berman Mary Lamy Louise Pearson and Grant Couch Ellen and Joshua Taxman
Patron
Anonymous Janet Ackermann and Scott Wiesner Joan McLean Braun Chris and Barbara Christoffersen Daryl and Kay James Ruth Carmel Kahn Janet and Scott Martin John and Maggie McKune Antoinette and Douglas Shaller Daniel and Boyce Sher
Artist Series Advisory Board Lissy Garrison Laima Haley Daryl James, President
Maryan K. Jaross Ruth Kahn Jerry Orten
Martha Coffin Evans and Robert Trembly II Carol and Michael Gallucci Harold and Joan Leinbach Eric Lewis and Karmen Rossi Heidi and Jerry Lynch Robert and Sandra McCalmon Judy and Alan Megibow Tiffany Myers and J. M. Steffan Knapp Jerry and Jamie Orten Patricia and Brian Ratner Cedric Reverand Mikhy and Michael Ritter Theodore and Ruth Smith Douglas and Avlona Taylor Evelyn Taylor Lawrence and Ann Brennan Thomas
Contributor
Dean and Ellen Boal Norma Ekstrand and Tom Campbell Robert Hammond and Ranelle Lang Tara Kelly Gregory and Gladeane Lefferdink Susan and Jon Lounsbury John Mantey and Erma Mantey Gary and Beth Rauch Alicia and Juan Rodriguez Elmer Altschuler and Melisse Perre-Altschuler Paul and Luana Rubin Alan and Stephanie Rudy Center Copy Boulder, Inc. Lawrence Cohn
Supporter
Louise Pearson Erika Randall Robert Shay
Member
Anonymous Shirley Carnahan Noel A. and Pauline A. Clark Douglas and Rita Dart Robbie Dunlap Merrill and Leslie Glustrom John Graham and Lorin Lear Damon and Laima Haley Jo and David Hill Matthew and Michele Hoovler Maryan Jaross Caroline and Gary Kounkel Pam Leland Judah and Alice Levine Gail and Thomas Madden Paul and Kay McCormick Hunter and Janet McDaniel Gail and Julie Mock Jacqueline Muller Irwin and Barbara Neulight Margaret Reagor Becky Roser and Ron Stewart Randall Kenneth Rutsch Courtland and Carolyn Spicer Zoe Stivers Lloyd Timblin Jr. Geoffrey Tyndall Heather Van Dusen Jack and Sophie Walker
Corporate Sponsors
Roser Visiting Artist Fund
In-kind Sponsors
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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
Virginia Boucher William and Alice Bradley Christopher and Margot Brauchli Patricia Butler Carolyn and Don Etter Richard Jessor and Jane Menken Robert R. Kehoe Walter and Eileen Kintsch Ray and Margot LaPanse Paul and Nancy Levitt Patricia and Robert Lisensky Maxine Mark Lise Menn Virginia Newton Neil and Martha Palmer Mikhy and Michael Ritter David and Susan Seitz Kathleen Sullivan Lawrence and Ann Brennan Thomas
Contributor
Lois Abbott Alison Craig and Stephen Trainor Doree and Jerry Hickman Patricia L. Johnson Harold and Joan Leinbach M. L. Sandos Bob and Lori Schuyler Helen Stone Anthony and Randi Stroh Patricia Thompson Laurie and Arthur Travers
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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
Gail and Thomas Madden Caroline E. Malde John and Nancy Malville Ralph and Nancy Mann J. Richard and Marjorie McIntosh Peter and Doris McManamon Josef and Sara Michl Christopher B. Mueller and Martha A. Whittaker Joan and Ronald Nordgren Margaret Oakes Faith and Roy Peterson Julie and Wayne Phillips Antonia and Timothy Piwonka-Corle Richard Replin and Elissa Stein Joanna and Mark Rosenblum Becky Roser and Ron Stewart JoAn Segal Ruth Shanberge Todd and Gretchen Sliker Grietje Sloan Carol and Art Smoot Berkley A. Tague Betty Van Zandt Chris and Leanne Walther Anthony White James and Nurit Wolf Bill Wood Michael Yanowitch
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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