CU Presents Magazine Winter 2016, February 19, 2017 by The Publishing House

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

2016-2017 Season

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Contents The Nile Project ...................................6 Calendar ..............................................8 Deborah Voigt ....................................20 Faculty Tuesdays ...............................22 Artist Series donors ...........................26 TakĂĄcs Society donors .....................30 Eklund Opera donors .......................32 Personnel lists ..................................34

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The Nile Project Where words fail, music speaks. 80 Anniversary th

statement.

To the musician-activists of The Nile Project, these five words, first spoken by Hans Christian Andersen, aren’t just food for thought—they’re a mission

Founded just a few years ago, The Nile Project brings together performers from the 11 African countries along the Nile River not just to play grooving multicultural music but also to send a political message: water is precious and scarce, and we must all band together to decide how best to use it. “Wherever a path can be found to help raise awareness of and find solutions to universal issues, it’s better to be there,” says Steven Sogo, a Burundian vocalist, bassist, guitarist and ikembe player. “We are using our music not only to entertain but also to educate.” More than 400 million people currently call the Nile River Basin home, and that population is set to double in the next 40 years, creating an ever-increasing demand for water in an area already facing water shortages. Through music and classroom education, the Nile Project hopes to propel Northeastern African politicians to join forces in fairly allocating the river’s resources. It’s a tough job, given the diversity of languages spoken, religions practiced and wealth—or lack thereof—in the region. “I feel so sorry to see how Africans don’t listen to each other,” Sogo says. “We are always limiting ourselves to

what we know and have, what is wrong. We don’t know what’s going on abroad in our neighboring countries.” Kenyan percussionist and vocalist Kasiva Mutua says she once had limited knowledge of other cultures—until she joined the Nile Project. “We have so much in common,” she says. “We discover so many similarities that I personally stop seeing Egyptians as Egyptians and Ugandans as Ugandans and so forth. I see them simply as Nile citizens.” Mutua says she hopes the Nile Project’s catchy, unique international beats are not just enjoyable but also thought-provoking for Boulder audiences. While not all Americans face a water crisis, plenty of other pressing issues demand that people of different beliefs unite for a common cause. “We hope that by watching how the music comes together from different countries into one solid sound, how the instruments interact with each other and how languages are sung into rhythms not of their own, inspires people to find ways of cooperating to come up with sustainable solutions,” she says. Sogo adds that even for those who aren’t politically inclined, the Nile Project’s performance promises to be memorable and enjoyable. “Everyone speaks the language of music,” he says. “You don’t need to understand the lyrics to shake your head or your whole body!” Thursday, Feb. 2, 7:30 p.m. | tickets start at $20

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2016-17 Season Deborah Voigt

Voigt Lessons Experience the moving story of a worldrenowned soprano’s successes and struggles in a performance that’s part recital and part one-woman show. Saturday, Feb. 18, 2017, 7:30 p.m.

80th Anniversary

Yo-Yo Ma

The world’s greatest living cellist gives a once-in-a-lifetime solo recital on the Artist Series. From his partnership with the Silk Road Ensemble to his cross-disciplinary collaborations, Yo-Yo Ma is the only musician who can travel seamlessly between genres and cultures. Wednesday, Feb. 22, 2017, 7:30 p.m.

Flamenco Vivo Carlota Santana Poema de Andalucía

Transport yourself to romantic southern Spain with an “infectiously joyful” (The New York Times) demonstration of authentic Spanish dance. This energetic performance combines sensual movement, colorful costumes and irresistible Andalusian folk music. Saturday, Jan. 21, 2017, 7:30 p.m.

The Nile Project

Take in vibrant, joyful and original music combining the traditions of 11 countries up and down Africa’s diverse Nile River basin. This “committed, euphoric international coalition” (The New York Times) of performers transcends language and cultural barriers to unite in harmony. Thursday, Feb. 2, 2017, 7:30 p.m.

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. James Galway

“The Man with the Golden Flute” pays a visit to Boulder for a mesmerizing, genredefying performance. Between his classical credits, his starstudded 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.

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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, Feb. 19, 4 p.m. Monday, Feb. 20, 7:30 p.m. 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 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 References to Salvador Dalí Make me Hot By José Rivera Opens February 8 World Premiere

Unspoken by Kevin Crowe Opens February 15

Alter/Altar Opens Mar. 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 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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Photo: The Great Green, by Joanna Rotkin, Joanna and the Agitators joannaandtheagitators.com

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2016 -17 SEASON JAKE SHIMABUKURO, UKULELE w/ the Boulder Phil Sat., Feb. 4, 7:30 PM Macky Auditorium “A musical hero” ~Rolling Stone The Boulder Phil Goes to Washington, DC: NATURE & MUSIC Sat., Mar. 25, 7:30 PM Macky Auditorium Tue., Mar. 28, 8 PM Kennedy Center, DC

LIAS All the Songs that Nature Sings (World premiere

commemorating the 100th anniversary of the National Park Service with choreographed visuals)

MIDKIFF Mandolin Concerto HEITZEG Ghosts of the Grasslands COPLAND Appalachian Spring w/ Frequent Flyers® Aerial Dance

SEASON FINALE: PINES OF ROME Sat., Apr. 22, 7:30 PM Macky Auditorium Works by Berio, Verdi and Puccini GOSS Invisible Cities: Double Concerto

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TA K Á C S Q U A R T E T — F e b r u a r y 1 9 - 2 0 , 2 0 1 7

Edward Dusinberre, violin Károly Schranz, violin Geraldine Walther, viola András Fejér, cello

Program Quintet for Clarinet and Strings in B minor, Op. 115 Allegro Adagio Andantino Con moto Daniel Silver, clarinet

Johannes Brahms (1833-1897)

Variations for Four Drums and Viola Michael Colgrass Introduction (b. 1957) Variation 1—Adagio Variation 2—Allegro Variation 3—Lyrical Variation 4—Andante agitato Variation 5—Scherzo Variation 6—Finale Geraldine Walther, viola and Douglas Walter, percussion Intermission String Quartet in G Major, Op. 18 No. 2 Allegro Adagio cantabile Scherzo/Allegro Allegro molto, quasi Presto

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Ludwig van Beethoven (1770-1827)

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Program Notes By Marc Shulgold

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Quintet for Clarinet and Strings in B minor, Op. 115 Examples of composers choosing to retire from their profession don’t pop up too often. Most continued to write music to the very end, yet there were some elderly masters who voluntarily called it quits, usually pointing to old age or creative exhaustion. The graying Elgar, Rachmaninoff, Sibelius and Ives fit that category. But Rossini famously stepped away from opera composing while still in his 30s. Then there was Brahms, whose attempt at hanging it up resulted in one of the sweetest stories in music history. “I have worked enough,” he had stated emphatically. “Now let the young people take over.” He was 58. The previous year, he’d sent his Viola Quintet (Op. 111) to his publisher, Simrock, telling him, “I’ve been tormenting myself for a long time with all kinds of [compositions] and nothing will come of it. … It seems to me that it’s not going the way it used to. I’m just not going to do any more.” A slip of paper was attached to some final corrections to the Quintet: “With this note you can take leave of my music, because it is high time to stop.” But a bit of magic intruded—for future clarinetists around the world, it was like an act of divine intervention. On a visit in March of 1891 to the Meiningen Court Orchestra, which had embraced Brahms’ music under Hans von Bülow, the composer met an orchestra player named Richard Mühlfeld (18561907). He had joined the Meiningen as a violinist, but switched over to clarinet—an instrument on which he was mostly self-taught. So taken was Brahms by Mühlfeld’s playing that he quickly and enthusiastically returned to composing, confessing

Variations for Four Drums and Viola Born in Chicago and schooled at the University of Illinois, Toronto-based composer Michael Colgrass began his life in music as a jazz drummer, confessing in a recorded conversation that he wasn’t all that interested in “classical” music at the University, where he’d received a D in music theory. A dramatic shift occurred in 1951, however, when his percussion teacher, Paul Price, challenged him to write an ensemble piece for his fellow students. With that, a composer was born. Now in his mid80s and a recipient of numerous awards, including a Pulitzer Prize in 1978, Colgrass has produced a

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Johannes Brahms

that he felt as if he’d fallen into a fountain of youth. Out of this new burst of creativity came four celestial works written for “Fräulein Klarinette,” as he nicknamed his new friend. That summer, after he’d spent hours listening to Mühlfeld practice and perform, Brahms wrote the Clarinet Trio (Op. 114) and the Clarinet Quintet (Op. 115). Three years later came the two Clarinet Sonatas (Op. 120). On Dec. 12, 1891, the world first heard the Quintet, with Mühlfeld and a string quartet led by Brahms’ old friend Joseph Joachim. If musical beauty is in the ear of the beholder, Op. 115 can be heard in starkly different ways. The Quintet can become an expression of slightly sad, autumnal introspection—it is, after all, set in a minor key. On the other hand, the music can unfold with quiet, understated pleasure. Indeed, both moods can be heard in that unforgettable opening, first sung in D Major by the two harmonizing violins, before the music settles into the darker B minor. There are passages of urgent motion, notably in the midst of the Andantino, but it seems that the entire work grows organically from those gently turning opening phrases. They certainly form the backbone of the Allegro, but they are partially hinted at by the clarinet near the end of the Adagio’s elegantly simple opening melody. And just as the concluding movement (con moto) breathes its last, we hear a remembrance of the Quintet’s lyrical opening phrase—an enigmatic ending to one of chamber music’s most glorious masterpieces.

Michael Colgrass large body of solo pieces, songs, choral, chamber and orchestral works—and, naturally, a variety of compositions focused on percussion. His Variations for Four Drums and Viola emerged in 1957 out of a friendship with violist Emanuel Vardi, then principal with the Symphony of the Air (formerly the NBC Symphony). For Colgrass, the Variations marked the first inclusion of a non-percussion instrument in his chamber music output. The composer said he’d become intrigued by “little timpani tomtoms,” introduced to him by Professor Price. Vardi had invited Colgrass to create a piece for the two

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wool-covered or exposed-tip sticks, or by hand, the four drums are carefully pitched to occasionally mimic the viola and, in one dramatic episode, to play in unison with the stringed instrument. (Douglas Walter said he will use six or seven drums to facilitate tuning changes between variations.) Considering Colgrass’ jazz roots, it should come as no surprise that this work was premiered in 1957 at the Five Spot Cafe in New York City, where John Coltrane and Thelonious Monk had played the previous night.

String Quartet in G Major, Op. 18 No. 2 The printed score of a string quartet contains four lines of music—one for each instrument. But let’s go back to the early 19th century and look at those lines in a different way—assigning one for each human element in the creation of that score. On the top, naturally, is the composer: In the case of this second of the six Op. 18 quartets, it is Beethoven, publishing this set in 1801 when he was still making a name for himself in Vienna. On the next line, we see the musicians entrusted with playing this brand-new music. Here, we meet the seriously overweight Ignaz Schuppanzigh, perhaps Vienna’s most prominent violinist, soon to become a lifelong friend of the composer. Schuppanzigh and his cohorts formed the first professional string quartet, giving their debut “public” performance in 1804— expanding their music-making from palaces into small theaters, playing for Viennese ticketholders. The group delivered the premieres of Op. 18 and would continue to introduce many of Beethoven’s monumental string quartets. Chamber music was no longer for the private entertainment of wealthy Viennese. And yet, those aristocratic lovers of new music were also crucial in its creation. Thus, here on the third line sit Beethoven’s patrons. They are now only names to us—Lobkowitz, Lichnovsky, Razumovsky, Galitzin—but their friendship, encouragement and financial support made it possible for Beethoven and other composers to ply their trade (it was Prince Joseph Lobkowitz who commissioned Op. 18). Many of these Viennese patrons also provided performing spaces in their lavish homes, hiring performers and inviting an

Ludwig van Beethoven audience of discerning music-lovers. On that final line of our score, then, are those listeners. Every composer had them in mind—since it was for those ears, not ours, that their music was intended. No surprise, then, that the quartets of Op. 18 reveal none of the groundbreaking experimentation and otherworldly sounds that emerged in Beethoven’s later quartets. In the late 1700s, when Op. 18 was written, the composer and his listeners were heavily influenced by Haydn and Mozart (the former was still alive and writing quartets, while the latter’s final works in that genre were only a few years old). Not that he was playing things safe for the Viennese: Beethoven had no qualms about bending a few of Haydn’s rules. There are delicious, unexpected touches in this G Major Quartet, such as the brief, amusing Allegro section that pops up in the midst of the dreamy second movement, and the occasional false endings that cleverly thumb their nose at predictability. Note, too, the inventive stretches in the opening movement’s middle section and some episodes set in “the wrong key.” In these early years, the composer was still learning, still finding his voice—and his audience. This sunny, spontaneoussounding G Major Quartet (actually the third of Op. 18 to be completed) received numerous revisions before it was released for publication, reminding us that Beethoven was focused on doing his best for the Viennese. That said, every note reflected his own high standards—his search for perfection and immortality. He sensed that his compositions would survive beyond his life and the lives of those who played such important roles in their creation.

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TA K Á C S Q U A R T E T — F e b r u a r y 1 9 - 2 0 , 2 0 1 7

of them, to be included in a recording the violist was preparing. As the composer explained, this 18-minute work employed “the variations idea, I guess very much coming from jazz.” Framed by an Introduction and Finale, the five clearly separated variations might be difficult to follow, since, as he explained, “there’s no actual theme in the usual sense.” Instead, rhythmic ideas are explored and developed, such as the quick five-note phrase introduced at the start by the viola and echoed by the drums. Played on small, shallow instruments known as rototoms struck with timpani sticks,

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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.” 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. 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 recorded works by Brahms,

The Takács Quartet

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 award-winning 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.

Praised by The Washington Post for his “sense of freedom and extraordinary control,” clarinetist Daniel Silver is active as a soloist, chamber musician, orchestral performer, clinician and teacher. He has served as principal clarinet of the Baltimore Opera Orchestra, the Washington Chamber Symphony (Kennedy Center) and the National Gallery Orchestra. From 1980 to 1987, he was the principal clarinet of the Hong Kong Philharmonic, appearing often as a concerto soloist. From 1988 to 2000, he was a member of the Contemporary Music Forum of Washington, D.C., in residence at the Corcoran Gallery, taking part in premiere performances of many works by noted composers. Silver has performed with the Baltimore Symphony and the Pittsburgh Symphony Orchestra, including Carnegie Hall concerts with David Zinman and Lorin Maazel. He has been a concerto soloist with the Washington Chamber Symphony, The National Chamber Orchestra, the Roanoke Symphony and others. He has played under many of the leading conductors of recent decades, including Seiji Ozawa, Leonard Bernstein and André Previn. His festival credits include Tanglewood and Aspen, and he now spends his summers at the Interlochen Arts Camp, where he has been a faculty member since 1991. In recent seasons, he has performed in Europe and Asia and has been a featured performer on National Public Radio’s “Performance Today” program. He has recorded for the Marco Polo, Naxos and CRI labels. A graduate of Northwestern University and the University of Michigan, Silver’s teachers have included Thomas Peterson, Robert Marcellus and Deborah Chodacki. He has taught previously at the Chinese University of Hong Kong and the Hong Kong Academy for the Performing Arts, Towson University in Maryland and the Baltimore School for the Arts. In demand as a clinician and adjudicator, he has served on panels in the United States, Asia and Australia. Professor of Percussion and Jazz Douglas Walter is the only marimba/vibraphone artist to win first prize in the Concert Artists Guild Competition in New York City. His debut recital in Carnegie Hall’s Weill Recital Hall received a positive review in The New York Times. He has performed more than 350 solo recitals and concerts in 40 states, Canada, Brazil and eight countries in Europe, in addition to conventions of the Percussive Arts Society, International Association of Jazz Educators and the National Association for Music Education. An accomplished orchestral musician, Walter has performed with the Dallas Symphony, Fort Worth Symphony, Oregon Symphony, Santa Fe Opera, Colorado Music Festival and Colorado Ballet. He is the principal timpanist with the Boulder Philharmonic and Sunriver Music Festival orchestras. He has toured in the United States for 26 years with the Westminster continued on the next page

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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. Bill Weber Probably I am the oldest guy (98) in your audience. I came to CU in 1946 and have served 70 years (see the exhibition of my life and work in Norlin Library that deals with my career). A large part of my Boulder life has been involved with the College of Music. In 1947 my family and I lived on Regent Street, where the parking lot is now. The music building did not exist. I was a charter member of the Festival Chorus, and my three children played flute, cello and violin in the orchestra. I played alto recorder, and our family, including Sammie, my wife, formed a recorder consort. Rehearsals of the Festival Chorus were held in the attic floor of an empty private house that stood near the Museum, on land that eventually housed the Memorial Building. From the very beginning we had chamber music. The musicians were probably faculty, and free concerts were given in the Little Theatre. I recall that the cellist, following a movement, might often come to the front and ask, “Now, wasn’t that a lovely piece? Would you like us to play it again?” As you undoubtedly know, after the building was constructed, we began to host all of the best chamber music artists. When I was in college as a student at Iowa State, I became a good friend of Feri Roth, whose quartet came once a year and spent a whole week here. The most memorable performance that the Roth Quartet played here in Boulder was this: One night, there happened to be no one around who knew how to turn on the lights. No luck! In Boulder that evening, we had the delicious experience of having the entire concert in candlelight. Deborah Marshall I have spent most of my adult life in Munich, where I played clarinet in the Bavarian Radio Orchestra. I moved to Boulder in May 2010 from Budapest because I got married, and my husband lived here. We have had a subscription to the Monday evening series since autumn 2010. I first became interested in chamber music in high school where I played in a clarinet quartet and various mixed wind ensembles. Since I have played chamber music and in orchestras all my life, it is really quite difficult to choose my favorite pieces. If I want to play the clarinet geek, it’s definitely the Mozart and Brahms Clarinet Quintets, Mozart’s “Gran Partita” and the Bartók Contrasts. In orchestral music, I particularly remember Mahler 2 with Kubelik, “Eine Alpensinfonie” with Solti and “La Bohème” with Patane. I wouldn’t necessarily say those are my favorite orchestral pieces, but definitely associated with the experience of playing under those conductors. Left to my own devices, I listen to string quartets, piano music and lieder, sometimes opera. I expect performers to have contemplated the intricacies of the music and prepared it meticulously, but on stage to risk everything and make every performance sound fresh. I also enjoy adventurous programming. | 303-492-8008 | cupresents.org | Get Soci@cupresents |

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TA K Á C S Q U A R T E T — F e b r u a r y 1 9 - 2 0 , 2 0 1 7

Brass. In his lifetime, he has played “The Nutcracker” a total of 544 times. As a jazz musician, Walter has recorded (on drum set and vibes) with Michael Pagán, the One O’Clock Lab Band of the University of North Texas (nominated for a Grammy Award), Modest Jazz Trio, Lawless Jazz Ensemble, CU Jazz Faculty Quintet, DAD Trio and Doug Walter Vibraphone Trio. His unique flamenco duo with Steve Mullins, guitarist, has toured in Europe. Walter graduated summa cum laude with a dual BM from North Texas State University, earned two master’s degrees (orchestral conducting and percussion) from the University of Michigan and has a DMA from Temple University, where he studied with Alan Abel and David Samuels. His BA in French literature from CU Boulder is also designated summa cum laude. Walter has been president of state chapters of the Percussive Arts Society in Oregon, Colorado and Indiana. His compositions are published by Dutch Music Partners, Matrix Publishing and Alfred. He endorses Encore Mallets, Sabian Cymbals and Yamaha Mallet Instruments.

Audience Spotlight Joy King

TA K Á C S Q U A R T E T — F e b r u a r y 1 9 - 2 0 , 2 0 1 7

We have lived in Boulder 54 years after my husband, Ed, became a professor of chemistry at CU. Early on we attended the Hungarian String Quartet concerts, enjoyed them very much and immediately signed up for season tickets for the Takács series, which we have enjoyed immensely for 30 years. Our musical interests are varied. Ed had no musical training; I studied piano, violin and voice when in school; our son played cello; and our daughter studied piano, violin, viola and voice. Now our musical preferences include classical, ragtime and jazz selections. Ed’s longtime favorites were Beethoven’s “Archduke” Trio and Schubert’s “Trout” Quintet, to which he introduced me 63 years ago just before we were married. I have since added my favorites, Mozart’s Clarinet Concerto and Quartet and Mendelssohn’s Octet. Serenity, peace of mind and pleasure are always our expected outcome. Tom Boyer I got interested in chamber music when I turned pages for pianist James Levine at concerts in Cleveland when he was an assistant conductor to George Szell from 1966 to 1972. I played clarinet and have my BM and MM from the Cleveland Institute of Music. Aside from enormous amounts of Mozart and Beethoven, my favorite pieces of music are “The Magic Flute,” the third movement of Beethoven’s Ninth Symphony and the Schubert Ninth Symphony. I hope to be uplifted when I attend a concert. Why? By analogy, as Emerson said of flowers: “… a ray of beauty outvalues all the utilities of the world.” Greitje Sloan I came to Boulder in 1985 to teach in the CU Humanities Department (as Lecturer and subsequently Instructor) and I was able to get my first season tickets to the Takács performances in the fall of 1993. I have retained them every year since then. I have played the violin since I was 9, with a viola interlude during some of my most active years of playing chamber music. These years were especially valuable when as an undergraduate at Harvard I could enjoy the cultural life in Cambridge, Massachusetts, where with so many university academics (teachers and students) a weekly session of chamber music playing (along with some small group gatherings) was simply a given. I have never forgotten living in a community in which playing music together was so unquestioningly a part of our lives and was available and desired by amateur as well as professional musicians. Not all of us play an instrument, or need or even want to, but I am sure that the uplifting experience so many of us seem to me unquestionably to feel in a Sunday afternoon’s concert includes us all. What I expect to get from a concert is a vibrant uplifting of awareness, heartfelt love, and glimpses of the beauty—whether in joy or sorrow—of life. We can experience a kind of transcendence in the everdeepening awareness the music gives us. There is also a sense of universality as we move beyond the confines of our own self and the normally more limited range of our daily lives. A few of my favorites: Bach’s Chaconne from the Partita No. 2 in D minor (for solo violin); the Cavatina from Beethoven’s Quartet , Op. 130, B flat Major; Schubert’s piano sonata in B flat Major (D.960), especially the second movement andante. Keep in touch! Send us your email address 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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Audience Spotlight Art Estin I came to Colorado Springs in 1950 as the first staff member in Colorado of the National Bureau of Standards (which is now called NIST), and then moved to Boulder in 1953 to join the new Boulder Labs of NBS when our Colorado Springs work was completed.

The love of classical music came from my parents when I was growing up on a farm back East. We would regularly listen to the weekly NBC Symphony radio broadcasts. One memorable occasion later was attending one of those concerts during my college undergraduate years and actually sitting in front of Toscanini and being able to turn and watch his face while he conducted. When I moved to Colorado Springs, the only live music was a fine chamber group based at Colorado College, which stimulated my interest in chamber music. Selecting favorite works from the vast musical literature is impossible, although that aformentioned Op. 132 would rank very high, as does all of Beethoven. Music has had a major place in my life. In earlier times, I had for some years broadcast monthly programs of opera recordings, first here in Boulder and later on at an NPR station in Paonia. Unfortunately, my hearing in old age has seriously deteriorated and the subtleties of fine music are now lost. It still brings pleasure, but has a lesser role in my personal life. Frank and Marion Kreith We came to Boulder in l959 because Frank was hired to teach at the College of Engineering. We have been coming to your concerts ever since you started playing here. We probably got interested in chamber music by listening to records—some of them esoteric at the time. There was a reception for you, at NCAR I believe, after one of your very early concerts. While standing in the buffet line waiting to fill our plates, Karóly Schranz was right behind us. Frank turned to him and, hesitatingly, asked whether the Quartet would consider including some Bartók. We remembered that moment with a grin every time you played Bartók over the years... As a youngster in Austria, Frank took some violin lessons but not with great interest. As for me, my mother was told that every child should learn the piano. But in the mid-1930s in Germany, buying a piano was not a wise thing to do for Jews. Instead, my mother opted for an accordion, but that did not work out very well. So, no, neither one of us plays an instrument. Frank loves Schubert’s “Trout.” My taste is quite eclectic, although—don’t hold this against me— Brahms is not one of my favorites. And no, there is no piece of music associated with a life event for either of us—though there is always a bit of a shiver at the Haydn piece that somehow morphed into “Deutschland über Alles.” We are now quite elderly and rarely go out anymore. But we are keeping our subscription for the Takács series, and we would like to express our deep appreciation for the many hours of pleasure your concerts are giving us.

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I have been attending not only almost all Takács concerts, but also most of the preceding Hungarian Quartet concerts since their beginning. I have a recollection of attending a Hungarian performance of the Beethoven Op. 132 with my son, then aged 8 or 9, who as a young cellist was fascinated by that work. (He is now in his 60s with two grandchildren of his own.) My wife’s and my steady attendance of Takács concerts followed naturally from those days.

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Coming soon...

Danú

80th Anniversary

St. Patrick’s Day Celebration

Saturday, March 4 at 7:30 p.m. Macky Auditorium, tickets $20 and up

“Blending English and Irish lyrics with whimsical and wistful melodies, Danú painted a charming portrait of the culture and music of its homeland.” The Journal Star

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The Anderson Language and Technology Center

Program Insert

Non-Credit Language Courses

8 Week Classes | Fall, Sping & Summer

We are offering various levels of language class, including Conversational and Advanced classes.

Email: altec@colorado.edu Visit: altec.colorado.edu/languageclasses

ALTEC

UNIVERSITY OF COLORADO BOULDER

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Deborah Voigt Those who believe operatic stardom can be found in anyone with natural 80th Anniversary talent, a decent work ethic and a large stash of herbal tea might be blindsided—in the best possible way—by what household-name soprano Deborah Voigt has to say about finding fame. In “Voigt Lessons,” a performance that’s part recital and part one-woman show, the Metropolitan Opera leading lady reveals all, from her successes to her rock-bottom struggles. Through refreshingly frank anecdotes, songs and arias, Voigt shares the moving story of her upbringing, her promising young adult years, her tales of love lost and found and, finally, the big break that kicked off her decades-long career in the spotlight. “Voigt is a down-to-earth woman with an ebullient personality who communicates best through her music,” says New York Times critic Anthony Tommasini, who attended the premiere performance of “Voigt Lessons.” “She gives a chatty, witty and sometimes painfully poignant account of her life … weaving in performances of inspirational songs, art songs, show songs and bits of arias … [in] an exuberant performance that drew a rousing ovation from the delighted audience.”

Wagnerian sound. With a singular stage presence, a uniquely beautiful voice and a folksy, relatable personality, she’s managed to inspire millions of music lovers. It might be hard to believe, then, that the going wasn’t always this good for Voigt. As a child of devout Baptists in Wheeling, Illinois, she knew she could sing but didn’t learn much about opera. She was well into adulthood when she enrolled in the voice program at California State University at Fullerton. In the years ahead, Voigt struggled to fight criticism, find a big break and eradicate emotional instability. But through it all, Voigt persevered—and to the delight of her fans, today the down-to-earth diva’s voice is stronger and more beautiful than ever. The Wall Street Journal proclaims, “Not only has her majestic voice made her fans love her, but so has the soprano’s profound feeling for texts and subtleties of musical style, not to mention her genuine sense of humor.” Saturday, Feb. 18, 7:30 p.m. | tickets start at $20

If Voigt’s story is any indication, it takes some nearimpossible combination of thick skin, a sense of humor and an unparalleled, powerhouse voice to make it in the intensely competitive world of opera. Today, she’s one of the most recognizable divas: She appears regularly on the world’s biggest stages, is the author of a bestselling memoir and is known internationally for her classic

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Join us for a musical journey. LOVE & DEATH

Shostakovich Symphony No. 14

January 20 in Denver | January 21 in Boulder

TRIUMPH

Beethoven Symphony No. 3, Eroica April 7 in Denver | April 8 in Boulder

Tickets and information at

ProMusicaColorado.org

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

January 17

February 7

March 7

David Requiro and Meta Weiss, cello Join us for a tantalizing and inspiring collection of music written for the unusual combination of two cellos, performed by award-winning cellists Meta Weiss and David Requiro. The program, a perfect blend of virtuosity and atmosphere, includes never-before-heard works and well-loved classics.

Vibraphonist Doug Walter and friends Take a musical journey through C.S. Lewis' Four Stages of Enchantment, from Winniethe-Pooh innocence to sorcery to maturity, with mezzo soprano Abigail Nims. Fiery flamenco marimba and guitar music by Steve Mullins follows. The second half of the program features a swinging vibesbass duo in jazz standards, originals and gospel.

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.

Weiss-Requiro Duo

Rapture's Four Stages

January 24

February 21

Pianist Margaret McDonald and friends Margaret McDonald and colleagues Harumi Rhodes, Peter Cooper and Jennifer Bird perform the repertoire most frequently requested for collaborative piano auditions, including works by César Franck, Francis Poulenc and Claude Debussy.

Pianist Jennifer Hayghe and friends Experience the dazzling brilliance of Scarlatti’s keyboard sonatas, the nostalgia of Grieg’s short and sweet Lyric Pieces and the majesty and intensity of Mendelssohn’s Piano Trio in C minor in this varied program of some of Jennifer Hayghe's favorite works.

Audition Time!

Luminous and Lyrical

January 31

February 28

David Korevaar, piano Delight in an intimate evening of music from the bookends of the 19th, 20th and 21st centuries. On the program are works by Beethoven and Brahms, pieces by American composer Lowell Liebermann and the regional premiere of several musical poems by Italian impressionist Luigi Perrachio.

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.

Bookends

From Old to New

Musings

March 14 Mike Dunn, 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.

More info at

colorado.edu/music

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

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A Colorado Holiday Tradition 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

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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

Artist Series Advisory Board Lissy Garrison Laima Haley Daryl James, President

Benefactor

Martha Coffin Evans and Robert Trembly II Carol and Michael Gallucci Harold and Joan Leinbach 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 Mikhy and Michael Ritter Theodore and Ruth Smith Evelyn Taylor Lawrence and Ann Brennan Thomas

Mark and Margaret Carson Diane and Richard Dunn Paul Bechtner Foundation Greg Silvus

Sponsor

Gil and Nancy Berman Mary Lamy 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 Louise Pearson and Grant Couch Antoinette and Douglas Shaller Daniel and Boyce Sher

Supporter

Maryan K. Jaross Ruth Kahn Jerry Orten

Contributor

Dean and Ellen Boal Norma Ekstrand and Tom Campbell Robert Hammond and Ranelle Lang Gregory and Gladeane Lefferdink Susan and Jon Lounsbury John Mantey and Erma Mantey Gary and Beth Rauch Alicia and Juan Rodriguez Paul and Luana Rubin Alan and Stephanie Rudy Douglas and Avlona Taylor

Elmer Altschuler and Melisse Perre-Altschuler Center Copy Boulder, Inc. Lawrence Cohn

Louise Pearson Erika Randall Robert Shay

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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 Gail and Julie Mock 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

In-kind Sponsors

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Worshipping • Exploring spirituality weekly in worship, with our Theologian-in-Residence program, Together and on our beautiful indoor labyrinth. Supporting • Supporting the arts with our ensembles-inthe Arts residence, art exhibits in the Sanctuary Gallery, and Arts for Kids’ Souls summer camp. Welcoming EVERYONE • Working for social justice and equality for all. JOIN US FOR SUNDAY WORSHIP AT 10:30 AM

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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 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 Carolyn and Don Etter Doree and Jerry Hickman Patricia L. Johnson Harold and Joan Leinbach Bob and Lori Schuyler Helen Stone Patricia Thompson Laurie and Arthur Travers

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 Joanna and Mark Rosenblum Becky Roser and Ron Stewart JoAn Segal 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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St. Aidan’s Episcopal St. Aidan’s Episcopal Church Church Proud to Support Performing Arts andCU’s Canterbury Colorado to support Joinisus proud for a Cajun Mardi Gras Feast withPerforming Music and Dancing CU’s Arts Tuesday, Feb. 28, 6 p.m. and Church & St. Aidan’s Episcopal Ash Wednesday Canterbury CampusServices: Ministry Colorado Avenue March 1,2425 7 a.m., 12 Noon, 5 p.m. & 8 p.m.

Boulder Piano Gallery is a hub of musical activity in Boulder County and the premier place to purchase a �ine quality new or used piano.

We offer full line of Kawai accoustic and digital pianos, German hand-made Schimmel pianos, Yamaha Clavinova and Arius digital pianos and their new hybrid Avant Grands as well as a current selection of over 50 rebuilt/ reconditioned pianos in all shapes and sizes.

Home of the gorgeous hand-built Shigeru Kawai grand pianos!

Regular Sunday Services: Sundays 8am + 10am + 8 a.m. and 10 a.m. 6pm Night Church Night Church 6 p.m.

Bread + Belonging Tuesdays 6pm

Bread + Belonging Tuesdays, 6 p.m. CU Student Dinner and Fellowship CU Student Dinner & Fellowship

www.saintaidans.org www.saintaidans.org 303-443-2503 | 303-492-8008 | cupresents.org | Get Soci@cupresents |

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 Susan Graber Harold and Joan Leinbach Heidi and Jerry Lynch Claudia Boettcher Merthan Dennis Peterson Dave and Ann Phillips R. Alan and Stephanie Rudy 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 Ellen and John Gille Janet Hanley Norman Clark Lane Kenneth L. Levinson and Shauna Titus Levinson Patricia and Robert Lisensky Bruce Mackenzie Michael Magan Marian Matheson Donna Meckley Kathleen and John Ness Margaret Oakes Robert and Marilyn Peltzer Kim and Richard Plumridge Gail Promboin and Robert Burnham Juan and Alicia Rodriguez Becky Roser and Ron Stewart Ruth Schoening JoAnn Silverstein and Nevis Cook Carol and Art Smoot

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 Video Producers: Emma Salvati, Jackson Xia Emily K. Harrison, Publications Coordinator 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 through March due to construction.

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