Opera Colorado Magazine February 2013 by The Publishing House

BY CHARLES GOUNOD

FEBRUARY 9 | 12 | 15 | 17 | 2013 ELLIE CAULKINS OPERA HOUSE Romeo and Juliet is sponsored by Mike and Julie Bock, Ellie Caulkins, Marcia and Dick Robinson, and Magnolia Hotels. Opera Colorado's 2013 season is sponsored by the Scientific and Cultural Facilities District (SCFD) and media sponsors The Denver Post and 5280Magazine.

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MARCH 30 | APRIL 2 | 5 | 7 | 2013 ARI PELTO Conductor KEVIN NEWBURY Director He loves you...he loves you not...he loves you... Don Giovanni encapsulates the roller-coaster emotions of love and deceit with wit, high drama and unforgettable music. Reset in the early ‘50s, this classic Mozart opera follows our suave, love-em-and-leave-em antihero as his ﬁckle heart alights with everyone from Anna to Zerlina, and dozens of women in between. And because our philandering heartbreaker eventually gets his comeuppance, Mom will approve. Sung in Italian with English and Spanish subtitles at every seat.

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From the General Director and Chairman of the Board Be a Voice for Opera Colorado

pera Colorado is proud to welcome you to our 2013 season productions of Romeo and Juliet and Don Giovanni. You have come to expect exceptional artistry from Opera Colorado and weâ&#x20AC;&#x2122;re certain that these two stories will sing!

Over the past three decades Opera Colorado has served our community with 100 different opera productions, and nearly one million people have been touched by our performances. Our education programs have reached over 350,000 students of all ages. Each year we employ more than 75 local orchestral musicians and we draw upon the vast talents of our local chorus, stage hands and volunteers to bring to life great operas like Romeo and Juliet and Don Giovanni. Thanks to the generosity of our patrons and the community, we have an amazing 30-year track record. Today, we face a tremendous challenge. We have to address the escalating costs of producing three exciting operas each season and providing educational programs throughout the community. We are restructuring internally and making changes to our production schedule. We are taking steps to ensure that Opera Colorado continues to thrive. One of these steps is our STORIES THAT SING campaign to raise $1.2 million in 70 days. Securing the funds allows us to present Romeo and Juliet and Don Giovanni in all their splendor, while giving us time to plan artistically and financially for future seasons. As you enjoy this performance of Romeo and Juliet, we hope you will be inspired to BE THE VOICE OF OPERA COLORADO and make a contribution to our STORIES THAT SING campaign. We have a donor relations table in the lobby where you can make a contribution before, during or after the performance or you can contribute online at OperaColorado.org/support or call the Development Office at 303.778.7086. Financially strong and artistically vibrant opera, symphony, ballet and theatre companies are hallmarks of great cities â&#x20AC;&#x201C; and we live in a great city! Arts institutions like Opera Colorado are an essential part of what makes Denver a wonderful place to live. Please join us in the campaign and be the voice of Opera Colorado.

Sincerely,

Greg Carpenter General Director

Michael Hughes Chairman

Page 9 | ROMEO AND JULIET

STORIES THAT SING CAMPAIGN BE THE VOICE OF OPERA COLORADO OUR CAMPAIGN TO RAISE $1.2 MILLION BY MARCH 30, 2013. OPERACOLORADO.ORG/SUPPORT | 303.778.7086

Matinee Bound: Singing for the Future By Cherity Koepke, Director of Education & Community Programs

nce every year, something very special takes place at the Ellie Caulkins Opera House. The Ellie opens its doors to over 2,000 school-age students from across the state of Colorado for the annual student matinee of one of Opera Colorado’s mainstage productions. The leading roles in the opera are performed by the Opera Colorado Young Artists. With the state of the arts in today’s education system, I think we all know that it is vital for us to play a role in exposing kids to opera. I wondered though, do we understand how important the matinee experience is for the Young Artists themselves? I decided to ask them. In a group interview setting we discussed the matinee. What they had to say was eye-opening, incredibly meaningful and reinforced for me that Opera Colorado is doing the right thing by our Young Artists.

What are you excited about?

Jared – I’m excited about the matinee because it’s a chance for Young Artists to really do their first big role on a full size opera house stage which a lot of schools don’t have the opportunity to provide. It’s important because it makes a huge difference in our development as professional artists. Singing in a big house on a big stage when you’ve never done that before…it’s major. Cassidy – I am excited to sing for the students at the matinee. The kids get so excited; they cheer and boo; it’s a really cool experience to have the kids get so engaged and that’s reassuring. You know that you’re telling a good story that is accessible to everyone. I’m also really excited to work with a professional company in a pants role. I think I’ll get some really great direction on it and learn just how to go about being a boy physically. The costuming will be totally different for me and help add another layer to my character of Stephano. I’m also excited to work closely with the mainstage artists in our roles and get feedback from them to see how they work.

Morgan and Joshua, what’s it like to portray such iconic characters as Romeo and Juliet?

Morgan – Juliet is going to be a completely new experience for me as a character. I’ve sung a lot of “young” roles like Gretel or fun, light characters like Adele. Juliet is young, but emotionally she’s much deeper than most of the characters I’ve sung and her music goes along with that. It’s going to be a stretch for me dramatically and vocally, but I am so excited to take it on. Once I do it, I will be able to decide if it’s a good fit for me or if the comic characters are what I really like. Joshua – I think Romeo is a bit easier for me to tackle. I tend to gravitate to the more dramatic characters in opera. I struggle with the lighter roles. For me the verismo characters are more relatable. Romeo’s music is gorgeous and to be able to sing that on the stage of the Ellie... what else is there to say? Morgan – I think something we both have working in our favor is that we’ve already established a relationship by working together in this program for several months. We know each other; we’re comfortable with each other. We’ve already had to be romantic with each other in the roles we’re singing in our touring production of Carmen and in Gallantry during Sideshow, so that takes some of the nerves away. Joshua – There’s a sense of trust there already which will make the rehearsal process easier.

Are there skills you gain through the student matinee experience that you feel are important for you as emerging singers?

Alex – This is a way for us to learn how to prepare a role, for the professional stage, in a truncated format, without any help. Short of being hired as a cover (understudy), there’s really no other way to learn how to do that. Jared – In school you really have a lot of help as you prepare a role. Here, we are expected to perform as professional artists and prepare ourselves. It puts more pressure on us, but it’s something that we need to be able to do at this stage of our careers. Alex – Singing with an orchestra is something else we get to experience in the matinee. You have to know how to do this to have a career in this business and it’s not something you get a lot of exposure to while you’re in college. I mean, I’ve learned something as simple as you don’t change the way you sing; a lot of younger singers don’t get that. They think they have to blast their voices over the orchestra and you don’t. A good conductor will work with the orchestra and each singer. We have to learn how to handle that, to realize that you sing the way you normally sing and don’t adjust just for the sake of being louder. Continued on page 15

Page 11 | ROMEO AND JULIET

The History of Gounod’s Romeo and Juliet or a generation of Americans, the music of Charles Gounod (1818–1893; pronounced “goo-NOH”) was most often encountered through television; the Frenchman’s Funeral March of a Marionette served as theme music for Alfred Hitchcock. Lacking television, Parisians of Gounod’s own time found his music most often in church or at the opera house. He composed about a dozen operas, a relatively low number, but those works gradually reinvented French opera of the time, making Gounod one of the most influential men in opera of the day. Opera appeared in Gounod’s life when he was about thirty. He had developed a friendship with mezzo-soprano Pauline Viardot Garcia and her husband Louis Viardot. Pauline was one of the most admired singers of the day – even Brahms wrote for her – and Louis was director of the Théâtre-Italien in Paris. Between them, they persuaded Gounod, until that time, most often busy with church music, to try his hand at opera. His Sapho of 1851 premiered at Louis’ theater with Pauline in the title role. At the time, Parisian opera was largely dominated by the bigger-than-life school of thought, as represented by the very grand operas of Giacomo Meyerbeer (1791–1864). Gounod wrote a few operas in that vein. Soon, however, he decided it was not for him. He began to develop a new approach to opera, focusing more upon the personalities of the individual characters and less upon dramatic vocal pyrotechnics. This altered vision of what opera could be first found success – and very great success – with Gounod’s fifth opera, Faust, which premiered March 19, 1859. Gounod would still be at the top of his game five operas later with Romeo and Juliet. Most of the work was written in 1865 when Gounod was vacationing on the coast of Provence. It was a tranquil setting, perfect for immersion in the compositional process. In these peaceful surroundings, Gounod completed most of the score in only one month. There were, of course, later revisions, many made at the demand of the director of the Paris Théâtre Lyrique where the opera would premiere April 27, 1867. Eventually, Gounod prepared several complete editions of the work, one with

Charles Gounod

“By focusing his operas more upon the people in the tale and less upon grand dramatic impact, Gounod created a more personal concept of the art form...”

William Shakespeare

ROMEO AND JULIET | Page 12

spoken dialogue, as in operetta, and another, grander version using sung recitative. Yet another, intended specifically for the Paris Opéra, included music for dancing, as that theater insisted upon keeping its corps de ballet busy. Although the music is the opera’s glory, some credit at least must go to the librettists, Jules Barbier and Michel Carré, who had also produced the text for Gounod’s Faust and three other Gounod operas to that time. Gounod and his librettists made several changes in Shakespeare’s action, to better fit it to the operatic stage. They dispensed with the story’s political aspects, giving more attention to the lovers than the playwright had originally intended. A marriage scene is added in Act Three, whereas in the play, the wedding had taken place off-stage. Furthermore, the first act is set entirely at the Capulet’s ball, rather than having the action range over several scenes. The most notable change is perhaps the most critical to the requirements of opera. Although Shakespeare had his heroine awaken after the death of her lover, Gounod brings her back to consciousness before the hero dies. One cannot end a romantic opera without a love duet, and this opera closes with one of the finest. By focusing his operas more upon the people in the tale and less upon grand dramatic impact, Gounod created a more personal concept of the art form: personal not only in that it was his own way of seeing it, but also in that the personalities of those involved became more richly shaded. It was a new way of seeing opera, but one that would have a strong effect upon the next generation. Georges Bizet (1838–1875), Jules Massenet (1842–1912), and even Peter Tchaikovsky (1840–1893) came to approach opera in the way that Gounod had. Without Gounod to blaze the trail, works such as Carmen, Thaïs, and Eugene Onegin might not have taken the form they did and certainly would have been slower to win acceptance. Those other composers owe thanks to Charles Gounod. Notes © Betsy Schwarm, author of Classical Music Insights and Operatic Insights

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Matinee Bound Continued from page 11...

How do you feel about the fact that the matinee performance will be abridged? The full opera of Romeo and Juliet is over 3 hours and the matinee will run 90-minutes. Jared â&#x20AC;&#x201C; You still have to tell the entire story and it sort of boils things down to the strongest emotions. I think itâ&#x20AC;&#x2122;s more of a challenge for us dramatically and will help us grow as performers. Morgan â&#x20AC;&#x201C; With the cuts we had to make for the matinee, I donâ&#x20AC;&#x2122;t really get a break from singing for more than a few minutes. Well, that and the intermission. So, Iâ&#x20AC;&#x2122;m going to have to be really focused and pace myself throughout the show. I think the matinee for all of us is a chance to go outside of our comfort zones in some way. Itâ&#x20AC;&#x2122;s pushing us and thatâ&#x20AC;&#x2122;s when we really learn something.

Singing an opera requires a huge amount of energy; youâ&#x20AC;&#x2122;ll be tired after the show. But, you still have an extended talk-back to do with the student audience. What do you think about that? (Excited chatter from all)

Joshua â&#x20AC;&#x201C; I think with the experience we have under our belts through our performances of The Barber of Seville and Carmen, that part will be easy. Alex â&#x20AC;&#x201C; It will be fun; Iâ&#x20AC;&#x2122;m actually looking forward to it. Jared â&#x20AC;&#x201C; I find it more gratifying when we get to talk to our audience afterwards. You get to gauge their reactions; they get to share their experiences with you. Itâ&#x20AC;&#x2122;s a more complete experience for me as opposed to just walking out of the theatre and going home without having spoken with anyone about what you just did. You can see the effect you had on people, which is especially true with the kids. Theyâ&#x20AC;&#x2122;re incredibly honest.

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Statistically, you will be performing the very first opera that more than 75% of students in the audience have ever seen. How does that feel? (Pause and a deep breath from all)

Jared (quietly) â&#x20AC;&#x201C; I think thatâ&#x20AC;&#x2122;s the coolest thing we do. I remember the first time I saw an opera and I remember how excited I was. It completely changed things for me. To be able to do that for this generation of kids is just ... there are no words. Alex â&#x20AC;&#x201C; Itâ&#x20AC;&#x2122;s kind of scary, too. Morgan â&#x20AC;&#x201C; It is. It puts a lot of pressure on us. Alex â&#x20AC;&#x201C; You want to give them a great experience; to give them a good impression of opera. Joshua â&#x20AC;&#x201C; These kids could be your ticket buyers in 20 years. Cassidy â&#x20AC;&#x201C; Thatâ&#x20AC;&#x2122;s a good point. They could be turned off of opera because of a bad experience. I donâ&#x20AC;&#x2122;t tell this to people very often, but I hated the first opera that I saw. It was a classic opera, but the design was, well, odd. I didnâ&#x20AC;&#x2122;t get the concept; I didnâ&#x20AC;&#x2122;t connect with any of the characters and I left thinking that I never wanted to see another one. Because I loved to sing, I had other experiences with opera that changed my opinion, but Iâ&#x20AC;&#x2122;m not sure I would have otherwise. I really want to create a positive first-opera experience for these kids. Jared â&#x20AC;&#x201C; The student matinee is a huge opportunity for us as Young Artists, but itâ&#x20AC;&#x2122;s also a ton of work and a major responsibility. We want to get it right. I think weâ&#x20AC;&#x2122;re all just feeling really lucky that we even get the chance to try.

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February 9, 12, 15, 17, 2013 Ellie Caulkins Opera House Opera in Five Acts By Charles Gounod Libretto by Jules Barbier and Michel Carré, after the play by William Shakespeare written circa 1591-1595

Prologue Act I: The Capulet’s Ball Intermission (20 minutes) Act II: Garden Intermission (20 minutes) Act III: Scene 1, Friar Laurence’s Cell | Scene 2, The Street Act IV: Juliet’s Room Act V: The Tomb Cast in Order of Appearance Tybalt Paris Capulet Juliet Mercutio Romeo Gertrude Gregorio Friar Laurence Stephano Duke of Verona

John McVeigh* Alex DeSocio*†† Stephen Morscheck Ava Pine Daniel Belcher Giuseppe Varano* Marcia Ragonetti Jared Guest*†† Kevin Langan Brenda Patterson* Geoff Cox* Opera Colorado Orchestra Opera Colorado Chorus

Conductor Robert Wood* Stage Director Bill Murray Chorus Master John Baril Lighting Design Paul Hackenmueller* Wig and Makeup Design Ronell Oliveri Fight Choreographer Benaiah Anderson* Sword Fighters Seth Maisel*, Fight Captain; Alex Demos*, Debe Hultgren*, Scott K. Leslie* Scenery and Props Courtesy of Lyric Opera of Kansas City Set Design R. Keith Brumley Principal Costumes – Costumes from The Minnesota Opera designed by Jennifer Caprio. Costumes for this production are owned by The Minnesota Opera, and were constructed by The Minnesota Opera Shops. Additional principal costumes courtesy of The Florida Grand Opera. Chorus costumes courtesy of Seattle Opera.

After the performance, please join General Director Greg Carpenter and Director of Artistic Operations Brad Trexell for an informal question and answer session. Those interested in participating should proceed to the first few rows of the orchestra section in front of the stage immediately following the performance. *Opera Colorado debut | ††Opera Colorado Young Artist

Romeo and Juliet is sponsored by Mike and Julie Bock Ellie Caulkins Marcia and Dick Robinson

Opera Colorado’s 2013 Season is sponsored by

Opera Colorado Media Sponsors

The pre-performance lecture, presented by music historian Betsy Schwarm, is sponsored by

English subtitles written by Jeremy Sortore for Opera Colorado. Spanish translation by TranslatingSpanish.com.

Operating the Subtitles When the singing begins, press the red button under the screen once for English subtitles or twice for Spanish subtitles. Repeat these steps after the intermission(s). Additional instructions and tips may be found on page 2 of the inner program pages. If you experience difficulty with the system, please contact an usher. Opera Colorado does not offer refunds or exchanges in the event of subtitle system failure. A synopsis of the opera is available in this program. All Sunday matinee performances offer audio description for the visually impaired. Headsets are available at the coat check.

Romeo and Juliet PROGRAM

Romeo and Juliet SYNOPSIS Act Four:

Setting: 14th century Verona Prologue: The chorus outlines the story’s background of feuding families and a pair of “star-crossed lovers.”

Act One:

The Capulets celebrate their daughter Juliet, soon to be betrothed to Paris. Juliet’s father presents her to the guests. The party is infiltrated by Romeo – a Montague – and his friends. He has dreamt of her, though his friend Mercutio seeks to convince him that dreams are unreal. When Romeo tries to speak with Juliet, her cousin Tybalt intervenes. Violence is prevented only when Juliet’s father steps in.

Act Two:

Under moonlight, Romeo seeks out Juliet’s balcony and they pledge their undying love. Neither Juliet’s nurse nor a passing group of Capulets can calm their passion.

It is dawn. Romeo and Juliet share last embraces and many farewells in her bedroom before he leaves for exile. After his departure, she learns that she is to marry Paris that day. Friar Laurence slips her a sleeping potion that will allow her to feign death, promising her that she will awake with Romeo by her side. When her family comes to take her to the church, she collapses, apparently dead.

Act Five: Having failed to receive word of Friar Laurence’s ploy, Romeo returns and hears of Juliet’s death. He despairs; unable to face life without her, takes poison by her side in the tomb. Just then, she awakes and rejoices to find him there, before seeing that he has taken poison. Seizing his dagger, Juliet stabs herself; there is barely time for a last kiss before they die.

Synopsis by Betsy Schwarm, author of Classical Music Insights and Operatic Insights

Act Three:

Friar Laurence agrees to unite the sweethearts in marriage, in hopes that their union will end the feud. Outside the Capulet house, conflict arises when several Capulets take offense at a song from Romeo’s page, Stephano. Mercutio defends the boy, but is slain by Juliet’s cousin Tybalt. In retribution, Romeo kills Tybalt. The Duke of Verona, passing by, stops the fight and banishes Romeo.

English or Spanish Subtitles are right at your fingertips! Just follow these easy steps: • Prior to the performance, the screen will display a sponsored message automatically. (You cannot turn it off.) • When the singing begins, press the red button briefly. • Press once for English titles. • Press twice for Spanish titles. • Press three times to turn the system off. •Repeat these steps after intermission. Pushing the button too many times or holding the button down will result in system failure. Titles are only broadcast when singing occurs on stage. If you experience difficulty with the subtitle system, please contact an usher for assistance. Opera Colorado does not offer refunds or exchanges in the event of system failure.

Romeo and Juliet PROGRAM

DIRECTOR’S NOTES

By Bill Murray, Stage Director

t sometimes takes repeated exposure to something before we realize its true value. This is my history with the tale of the star-crossed lovers. When I was first assigned Romeo and Juliet in school, I remember not liking it as much as I thought I should. It was difficult for me as an awkward adolescent, intent more on fitting in than falling in love, to understand a love worth dying for. I remember thinking how absurd these teenagers were acting: overly sensitive, falling in love at a single glance, and prone to rash plans. While over the years I have come to appreciate the play, I find the depiction of head over heels young love

Charles Gounod

better exemplified through music. It is no secret that music often heightens emotions, and through the score, Gounod is able to realize this torrent of emotions. What was once absurd becomes perfectly clear, almost sublime. In opera we are often accustomed to a magical moment of clarity that allows characters to fall in love in a single glance. This union of overt emotion and fortuitous timing lends to the excitement and romanticism that characterizes opera and there is no story more fitting to these qualities than Romeo and Juliet.

By Betsy Schwarm, Music Historian

ometimes in operas, arias are largely an opportunity for virtuoso vocal display. Better is when the composer manages both vocal display and also character exploration; Charles Gounod is definitely in the “better” category. With a bit of attention, a listener can let the music of his Romeo and Juliet shade the subtleties of the personalities. Consider, for example, the aria in which the audience first gets to know the leading lady in Act One of the opera. Juliet’s “Je veux vivre” (I want to live) is a light-hearted waltz with many short phrases, as if Juliet was a bit breathless: a charming depiction of an adolescent girl. Later phrases in the aria become somewhat more spacious, rising and falling in pitch, like the ebb and flow of emotions. Listeners have just met her, and it is already clear that here is a young woman as bubbly as a glass of champagne. As for Romeo, his music shows him to be less giddy than Juliet and more steady, perhaps a few years older than the heroine, who in Shakespeare is declared to be not quite fourteen. His Act One aria “Ah, leve-toi, soleil” (Ah, let the sun arise) – occurring at the point in the story in which Shakespeare’s character declares “But soft, what light through yonder window breaks” – has all the passionate expression of a young man carried away by new love. These are not short phrases, but the expansive ones of a youth who wishes to prolong the moment. Beginning in a reflective mood, the aria becomes ever more urgent as thoughts of Juliet fill his heart. Gounod’s marvelously crafted music brings home a certain contrast between the personalities of the two principal characters. Secondary characters also earn arias, lest the work become overly focused, musically speaking, on the central couple. Romeo’s friend Mercutio is given what happens to be the first aria in the entire opera. His “Queen Mab” scene, in which he delights in relating the deceptive power of dreams, is bright and nimble with a great many words, as close to a Gilbert and Sullivan patter song as Gounod would ever write. Mercutio may be the baritone to Romeo’s tenor, but his is still the lighter heart, making it all the more tragic that his murder becomes a pivotal point to the story.

For more from the female side of the equation, there is Romeo’s page Stephano. Indeed, it is a masculine role. However, Gounod chose to write this young male character, younger even than Romeo, for female voice, so that he would sound that much more youthful; Mozart does the same thing with Cherubino in The Marriage of Figaro. The mezzo-soprano’s Act Three “Turtledove” aria begins as a sweet serenade to Juliet. More tense moods arrive as he imagines vultures closing in upon the lovebirds, though light and bright phrases soon return. Stephano, it appears, is young enough that he cannot imagine the vultures triumphing. Incidentally, he is not in the original Shakespeare at all, but Gounod and his librettists determined that adding such a character would make a deft contrast to the “star-crossed lovers” themselves. Gounod even allows a musical spotlight for the lovers’ confidant, Friar Laurence. His Act Four “Potion” aria comes as he explains to Juliet his idea for a sleeping potion that will allow her to feign death. The long, drowsy baritone phrases seem to evoke the dropping off into apparent eternal sleep, especially as much of it is intoned on the same repeated note. The monk is made to sound more grounded than the other characters, as indeed one might imagine his profession would cause him to be. A skilled composer for the stage, Gounod knew well how music could be used to vividly color a character, letting that character grow and change as the music evolves. By the time the once giddy Juliet bids farewell to Romeo before he is banished, the phrasing of her music has become as long and thoughtful as his own; they have grown to be alike. Romeo, too, is written with stronger, more driven music, for he, too, has been changed by his ever-more-powerful passions. Amidst much woodwind warbling to represent the birds at dawn, the lovers sing similarly shaped phrases, hinting that they are of like mind. No longer just stereotypical lovers, Romeo and Juliet have become more rounded, more believable characters. All we need to do as listeners is to be open to sensing that evolution in the music. Gounod’s craftsmanship has taken them along that path. As attentive listeners, we can join the lovers in that journey. Romeo and Juliet PROGRAM

THE ARTISTS BENAIAH ANDERSON, Fight Choreographer (Opera Colorado debut) Benaiah Anderson is a local actor and fight director who acts and teaches stage combat all along the Front Range. He is currently performing in the Denver Center Theatre Company production of Romeo and Juliet while he is choreographing the violence for this production. This is his third show with DCTC. He has taught Stage Combat at CU, DU, UCCS, CSU, Brigham Young University, and Kansas State University, his alma mater. He can often be seen performing outdoors under the stars in the summer at the Colorado Shakespeare Festival where he has been in shows such as Macbeth, Hamlet, Two Gentlemen of Verona, and Romeo and Juliet as Tybalt. JOHN BARIL, Chorus Master (Opera Colorado debut: Lucia di Lammermoor, 2003) John Baril made his debut as conductor of the Opera Colorado Orchestra with our 2012 production of The Marriage of Figaro. He has served as Opera Colorado’s Chorus Master since 2003 and is currently Music Director of Central City Opera where he conducted La bohème, Gianni Schicchi, The Seven Deadly Sins, The Breasts of Tiresas, Three Decembers, Lucia di Lammermoor, West Side Story and Cendrillon. Some of his other recent conducting engagements include Cavalleria Rusticana, Pagliacci and Tosca with Opera Delaware and Don Giovanni at Nashville Opera. This summer he will conduct a new production of Il barbiere di Siviglia at Central City Opera. DANIEL BELCHER, Mercutio (Opera Colorado debut: Cinderella, 2011) Winner of a 2010 Grammy Award, baritone Daniel Belcher came to international attention in 2004 creating the role of Prior Walter in Peter Eötvös’ Angels in America for the Théâtre du Châtelet in Paris. Mr. Belcher most recently created the role of Robert Kennedy in Robin de Raaff’s Waiting for Miss Monroe for his debut at The Netherlands Opera and Holland Festival. During the 2012-2013 season, he will appear with Houston Grand Opera (L’italiana in Algeri), Utah Opera (Die Zauberflöte), Florentine Opera (Le nozze di Figaro), and Central City Opera (Il barbiere di Siviglia). Mr. Belcher is one of the premier interpreters of Rossini performing today, and he is closely associated with the roles of Dandini in La Cenerentola, Figaro in Il barbiere di Siviglia, and Taddeo in L’italiana in Algeri. He is a recipient of Le Cercle International des Amis et Mécènes du Châtelet Award (International Circle of Friends and Patrons of Théâtre du Châtelet, CIAM) for his acclaimed performance of Prior Walter in Angels in America, a Robert Jacobson Study Grant from the Richard Tucker Foundation, a Richard F. Gold Career Grant from the Shoshana Foundation for his work with Wolf Trap Opera and the Sullivan Foundation Award, the Apprentice Artist Award from the Santa Fe Opera and the Young Artist Award and Outstanding Studio Artist Award from the Central City Opera. R. KEITH BRUMLEY, Set Design (Opera Colorado debut: La bohème, 2010) R. Keith Brumley is the resident set designer for Lyric Opera of Kansas City, where his most recent projects include sets for Turandot for the Lyric Opera of Kansas City, Rossini’s La Cenerentola and Verdi’s Un ballo in maschera, Mozart’s Don Giovanni, and Britten’s A Midsummer Night’s Dream. Mr. Brumley has also designed sets for the Des Moines Metro Opera, Kansas City Ballet, Utah Festival Opera, Opera Carolina, Virginia Opera, Anchorage Opera and the Alaska Repertory Theatre. He has designed La fanciulla del West for Seattle Opera, where he was master scenic artist from 1986-1991.

Romeo and Juliet PROGRAM

GEOFFREY COX, Duke of Verona (Opera Colorado debut) Having earned his degree in Music from Rollins College under the voice direction of operatic tenor Curtis Rayam Jr., Geoffrey Cox is an emerging young bass from Central Florida. Mr. Cox’s repertoire includes the bass roles in oratorios such as Mozart’s Requiem, Mozart’s Coronation Mass, Verdi’s Requiem, Faure’s Requiem, Mendelssohn’s Elijah, Rossini’s Stabat Mater, Beethoven’s Ninth Symphony, and Handel’s Messiah. Building on his operatic repertoire, Mr. Cox made his operatic debut with Orlando Philharmonic’s production of Bizet’s Carmen in 2010 playing the role of Zuniga, and in 2012, performing the role of Count Ceprano in Verdi’s Rigoletto with the Florida Opera Theater. In 2011 and 2012, Mr. Cox was the guest soloist for the American Humane Organization’s presentations of the Humanitarian Award to Martha Stewart and Candy Spelling in Mar-a-Lago, Florida. Currently, Mr. Cox is preparing for an audition tour in Germany in summer of 2013. ALEX DeSOCIO, Paris (Opera Colorado debut) Baritone Alex DeSocio received his Bachelor of Music Degree in Vocal Performance from Northwestern University in 2010 and recently completed the Master of Music program at the University of Maryland with the Maryland Opera Studio. Mr. DeSocio has performed the roles of Antonio (The Marriage of Figaro), Figaro (Corigliano’s The Ghosts of Versailles) and Michele (Il tabarro). Other recent performances include Silvio (Pagliacci) with the In Series and Ben Budge (The Beggar's Opera) with the Castleton Festival under Lorin Maazel. This past summer, he was a resident artist with Pine Mountain Music Festival and performed roles in Così fan tutte and A Little Night Music. Mr. DeSocio is one of the 2012-2013 Opera Colorado Young Artists, performing the roles of Escamillo (Carmen) and Figaro (The Barber of Seville) in the company’s abridged touring productions, as well as Mercutio in the student matinee production of Romeo and Juliet. JARED GUEST, Gregorio (Opera Colorado debut) Jared A. Guest received his Bachelor of Music degree in Voice Performance from Florida State University and his Master of Music degree in Voice Performance and Opera from the University of Houston’s Moores School of Music. He has performed in a wide range of operas including Il barbiere di Siviglia, Die Rosenkavalier, Falstaff, Amelia, Il Postino, Die Zauberflöte, La Vie Parisienne, Don Giovanni, and Tosca. Mr. Guest is a baritone with the 2012-2013 Opera Colorado Young Artists, singing the roles of Zuniga/Narrator (Carmen) and Bartolo (The Barber of Seville) in the company’s abridged touring productions, as well as the role of Friar Laurence in the student matinee production of Romeo and Juliet. PAUL HACKENMUELLER, Lighting Design (Opera Colorado debut) Paul Hackenmueller is delighted to be making his Opera Colorado design debut after re-mounting the original lighting design for Rusalka last season. His New York credits include Jump/Rope (Square Peg Productions); Cloud Tectonics (Culture Project); Walk Two Moons (Lucille Lortel); Peter Pan, The Great American War Machine (Irondale Ensemble); Carrie (PS122); John Barton’s The Greeks: Part One (Juilliard School) and the upcoming production of Happy Birthday with The Acting Company. Regional theatre credits include

THE ARTISTS productions at The Guthrie Theatre, Syracuse Stage, GEVA, Merrimack Repertory Theatre, Berkshire Theater Festival, Portland Stage Company, McCarter Theater Center/Princeton University, People’s Light & Theater Company, Perseverance Theater, Theater Latte Da, Le Petit Theatre du Vieux Carre, as well as Disney’s Beauty and the Beast at the Ordway Center for the Performing Arts and Let Freedon Swing! with Solomon Group Entertainment. Opera credits include Boston Lyric Opera’s Tosca and their upcoming production of Puritani and Orfeo ed Euridice for Palm Beach Opera. His industrial and commercial work for clients includes Target Stores, Carlson Companies, Boston Scientific, Starkey Inc., Wells Fargo Bank, Life Touch, Arctic Cat, Microsoft, Children’s Cancer Research Fund, and Cargill. Mr. Hackenmueller received his M.F.A. from Tisch School of the Arts at NYU and his B.A. University of Minnesota, Minneapolis. KEVIN LANGAN, Friar Laurence (Opera Colorado debut: Aïda, 1986) American bass Kevin Langan’s career currently spans 35 years and almost 1,300 performances covering a vast repertoire of over 80 roles from early baroque through 20th century works. Mr. Langan has been a leading bass for thirty years with the San Francisco Opera, becoming the first artist in the 88 year history of the company to reach the lofty level of 300 career performances in leading roles with the company. He has appeared in 43 different productions in San Francisco beginning with the PBS and DVD production of Samson et Dalilah in 1980. Mr. Langan has also been a leading bass for 11 seasons with The Lyric Opera of Chicago giving over 125 performances of 13 different productions there, as well as 14 seasons with The Santa Fe Opera with over 165 performances of 20 different productions. Last season Mr. Langan appeared as Sparafucile in Rigoletto with Florida Grand Opera, The Sprecher in Die Zauberflöte with the Dallas Opera and Austin Lyric Opera, and The Capitán in Opera Colorado’s production of Daniel Catán’s Florencia en el Amazonas. Upcoming engagements include The 4th Tempter and 4th Knight in Pizzetti’s Assassinio nella Cattedrale with San Diego Opera, and Dr. Gibbs in Ned Rorem’s opera Our Town with Central City Opera. He is the recipient of the prestigious 1983 Richard Tucker Foundation Grant Award, and was a 1980 National Finalist of the Metropolitan Opera Auditions, the 1981 Opera America Auditions, and the 1980 San Francisco Opera Auditions. JOHN McVEIGH, Tybalt (Opera Colorado debut) Tenor John McVeigh continues to garner attention for his countless world class performances at the most revered houses all over the world. This season he performs Goro in Madama Butterfly with PORTopera, Haydn’s Creation with the Portland Symphony, Messiah with Boston Baroque and the Winston Salem Symphony, Acis in Acis and Galatea with the Concert Radio Kamer Filharmonie in Amsterdam, and in 2014 he will return to the Houston Grand Opera. Having earned breakout star status with his performances as the Novice in Benjamin Britten’s Billy Budd in his debut with the Lyric Opera of Chicago, he soon after reprised the same role in his debuts with Los Angeles Opera and Washington National Opera. His extensive work in English language repertoire has also included performances with Utah Opera, Central City Opera, New York City Opera, San Diego Opera, Houston Grand Opera, and Lyric Opera of Kansas City, among others. Mr. McVeigh’s performances in opera also include his Metropolitan Opera debut as Pang in Turandot, followed by return appearances as Bardolfo in Falstaff and Tinca in Il tabarro; Fenton in Falstaff and Arbace in Idomeneo with Santa Fe Opera; and Tamino in Die Zauberflöte with New York City Opera and Houston Grand Opera.

STEPHEN MORSCHECK, Capulet (Opera Colorado debut: Don Giovanni, 1997) Bass-baritone Stephen Morscheck is widely respected for the dignity he brings in both concert and operatic performances. Last season he performed Capulet in Roméo et Juliette at the Dallas Opera and Florida Grand Opera, Bartolo in Le nozze di Figaro at Lyric Opera Baltimore, and Father Trulove in The Rake’s Progress at the Princeton Festival. Recent operatic engagements include Palemon in Thaïs with the Lyric Opera of Chicago; Colline in La bohème with Los Angeles, Dallas Opera and L’Opéra de Montréal; Raimondo in Lucia di Lammermoor with Washington National Opera and Arizona Opera; Bartolo in Le nozze di Figaro with Dallas Opera; Rocco in Fidelio at Opera Company of Philadelphia and the Florentine Opera of Milwaukee; Basilio in Il barbiere di Siviglia with L’Opéra de Montréal, Kentucky Opera, and Atlanta Opera; Alidoro in La Cenerentola with the Lyric Opera of Kansas City, Orlando Opera, and Florentine Opera; Leporello in Don Giovanni with Opera Carolina; Sparafucile in Rigoletto with the Florentine Opera; Don Alphonso in Così fan tutte with Arizona Opera and Kentucky Opera; and Nourabad in Les Pêcheurs de Perles with Kentucky Opera. Upcoming engagements include Beethoven’s Symphony No. 9 with the Glacier Symphony and Chorale in Montana, Ein Deutsches Requiem with the Sheboygan Symphony, Elijah with Opera Naples, and Haydn’s Lord Nelson Mass with the Music of the Baroque. Mr. Morscheck was awarded the Richard Tucker Career Grant 1995 and currently serves as the Assistant Professor of Voice at the University of North Texas, Denton. BILL MURRAY, Stage Director (Opera Colorado debut) Bill Murray’s career covers a wide range of experiences across North America and Europe. As a singer, he has performed lead roles in The Marriage of Figaro, Gianni Schicchi, The Merry Wives of Windsor, and Carmen, and has worked with The Minnesota Opera, Nautilus Music Theater, and The Tanglewood Music Festival, among others. Mr. Murray now spends most of his time as an independent stage director and also as an administrator for The Minnesota Opera where he spent numerous years as a singer and two years as a Resident Artist before joining the company as a professional. He is currently the Artistic Associate and Project Manager for the Minnesota Opera’s New Works Initiative, a six year, seven million dollar program aimed at producing three new opera commissions, three revivals of contemporary American works, and one international co-production. As a director and administrator, he has also worked with L’Opéra de Montréal, Boston Lyric Opera, Glimmerglass Opera, Opera Colorado, Livermore Valley Opera and The University of Minnesota. Originally from New York, Mr. Murray holds a Bachelor of Music from Ithaca College, and both a Master and Doctorate of Music from The University of Minnesota. BRENDA PATTERSON, Stephano (Opera Colorado debut) During the 2012-2013 season, mezzo-soprano Brenda Patterson returns to the Metropolitan Opera roster for its productions of Le nozze di Figaro and Dialogues des Carmélites. She also sings the leading role of Brother in the workshop of Stefan Weisman’s The Scarlet Ibis as part of Opera America’s New Works Forum and the Here Artist Residency Program and joins the Aurelian Chamber Players for performances of Berio’s O King at New York’s Symphony Space. Last season, she made her Teatro alla Scala debut as Rosette in Manon. Ms. Patterson recently triumphed in a number of leading roles at the Staatsoper Hamburg that include Idamante in Idomeneo, Niklausse in Les contes d’Hoffmann, Dorabella in Così fan tutte, Romeo and Juliet PROGRAM

THE ARTISTS Hänsel in Hänsel und Gretel, Cherubino in Le nozze di Figaro, Annio in La clemenza di Tito and Rosina in Il barbiere di Siviglia. She made her Metropolitan Opera debut as a Wood Sprite in Rusalka and has since returned to the company for its productions of Lulu, Iphigénie en Tauride, and Le nozze di Figaro. She holds degrees from The Juilliard School, where she was winner of the prestigious Alice Tully Vocal Arts Debut Recital Competition, and Barnard College. Additionally, the mezzo-soprano has attended the Tanglewood, Ravinia, Cleveland Art Song, Music Academy of the West, and Aspen Music Festivals. AVA PINE, Juliet (Opera Colorado debut: The Marriage of Figaro, 2012) Soprano Ava Pine, a native of Texas, continues to dazzle audiences and critics with her rewarding vocalism and compelling commitment to character, creating vivid and captivating portraits on stage. Equally at home with opera, oratorio or recital, and accomplished in works ranging from baroque to contemporary, she brings great vocal and dramatic range to her work. Ms. Pine’s engagements during the 2012-2013 season include her return to Fort Worth Opera for Marie in Daughter of Regiment and her Wichita Grand Opera debut as Susanna in Le nozze di Figaro. On the concert stage, she performs Messiah with the Kansas City Symphony, a recital of Viennese operetta for the Fort Worth Symphony New Year’s Eve celebration, and a baroque recital and recording with the Dallas Bach Society. Recently Ms. Pine returned to Dallas Opera for Pamina in Die Zauberflöte, and to Fort Worth Opera for a role debut as Lysia in Adamo’s Lysistrata where she was seen previously as Cleopatra in Giulio Cesare. She also returned to Florentine Opera as Blanca in the world premiere of Davis’s Rio de Sangre and debuted with Michigan Opera Theater as Pamina in Die Zauberflöte. Recognized for her commitment to contemporary opera, Ms. Pine made her European debut with the BBC Symphony Orchestra as The Angel in the United Kingdom premiere of Angels in America, a role she first debuted with Fort Worth Opera. MARCIA RAGONETTI, Gertrude (Opera Colorado debut: Un ballo in maschera, 1984) Marcia Ragonetti is recognized as one of the Rocky Mountain region’s most celebrated artists. She has been associated with Opera Colorado since its inception in 1982, having performed in 23 consecutive seasons in a wide variety of leading and featured roles. A career highlight was singing in the 2005 gala inauguration of The Ellie Caulkins Opera House capped by an acclaimed production of Carmen with Denyce Graves. Along the Front Range, she has appeared regularly with Central City Opera, the Colorado Symphony, summer music festivals in Vail, Boulder and Crested Butte, Opera Fort Collins, Colorado Springs Philharmonic, Opera Theatre of the Rockies, and Boulder Philharmonic, among others. Most recently Marcia played the virtuoso speaking role of Maria Callas in Master Class for which she earned a Best Diva award from Westword and a Henry nomination from the Colorado Theatre Guild for best leading actress. Internationally, Marcia made her 2009 debut singing the Beggar Woman in the Italian premiere of Sweeney Todd, performed in four Emilia-Romagna cities. She is a Phi Beta Kappa graduate of Cornell University with advanced degrees in English and psycholinguistics.

Romeo and Juliet PROGRAM

GIUSEPPE VARANO, Romeo (Opera Colorado debut) A graduate of Voci Verdiane – Fondazione Arturo Toscanini of Parma, Italian tenor Giuseppe Varano made his professional debut in 2002-2003 as Alfredo in La traviata in Busseto directed by Franco Zeffirelli and, in the same role, made his American debut with Madison Opera in 2010-2011. He has performed leading roles throughout Europe in productions of La bohème, La traviata, Madama Butterfly, Lucia di Lammermoor, Faust, and Galuppi’s Didone abbandonata, as well as performing the roles of Alfredo with Pittsburgh Opera and Rodolfo in Montreal. Mr. Varano recently debuted with the Symphonic Orchestra of Milan, directed by Roberto Abbado, performing Eight Romances for Tenor & Orchestra by Verdi and Berio. Performances this season include appearances as Pinkerton in Madama Butterfly in Palermo and Alfredo in La traviata in Graz, Austria. ROBERT WOOD, Conductor (Opera Colorado debut) Conductor Robert Wood has enjoyed great success since his debut with the San Francisco Opera in 2004 making a considerable impression with his interpretations of bel canto works, and garnering praise for his stylish and elegant conducting. Additional engagements for the 2012-2013 season include Die Fledermaus for Hawaii Opera and The Magic Flute for The University of Maryland. As Conductor in Residence at the Minnesota Opera he led productions of L’italiana in Algeri, Le nozze di Figaro, La donna del lago, Rusalka, and, most recently, Il barbiere di Siviglia. Mr. Wood also recently conducted a concert featuring Stephanie Blythe and Lawrence Brownlee for San Francisco Opera, where he spent many years on the staff leading performances of La traviata and L’italiana in Algeri, and assisting productions of La bohème, Il barbiere di Siviglia, Don Carlos, Hansel and Gretel, The Merry Widow, and Tosca. Additional career highlights include L’italiana in Algeri at Vancouver Opera, Die Entführung aus dem Serail for Hawaii Opera Theater, The Love for Three Oranges at Indiana University Opera Theater, La Cenerentola at Opera New Jersey, Lakmé at Minnesota Opera, and The Nutcracker for San Francisco Ballet. Mr. Wood’s collaborations with the Wolf Trap Opera Company include Le Comte Ory and Die Zauberflöte. In addition to his busy conducting schedule Mo. Woods is the founder and Executive Director of UrbanArias, a new opera company in the D.C. area dedicated to producing short, contemporary operas, and garnering much critical acclaim.

OPERA COLORADO ORCHESTRA VIOLIN Takanori Sugishita, Concertmaster Rene Knetsch, Principal Second Violin Angela Dombrowski Lynne Glaeske Margaret Gutierrez Debra Holland Robyn Julyan Chris Jusell Annamaria Karacson Cyndi Mancinelli Dan Murphy Brett Omara Susie Peek Ingrid Peoria Gyongyi Petheo Veronica Pigeon Leslie Sawyer Robyn Sosa

VIOLA Jeanne Chin, Principal Brian Cook Mary Harrison Summer Rhodes Sarah Richardson Lora Stevens CELLO Jeff Watson, Principal Cedra Kuehn Charles Lee Evan Orman Carole Whitney BASS David Crowe, Principal Jeremy Nicholas Jim Vaughn

FLUTE Susan Townsend, Principal Elizabeth Sadilek OBOE Sarah Bierhaus, Principal Susanne Sawchuk CLARINET Michelle Orman, Principal Heidi Mendenhall BASSOON Charles Hansen, Principal Kim Peoria HORN Matthew Scheffelman, Principal Thomas Ferrin Devon Park Marian Hesse

TRUMPET Brian Brown, Principal John King TROMBONE Bron Wright, Principal Owen Homayoun Andy Wolfe TIMPANI Peter Cooper PERCUSSION Mark Foster, Principal Bob Jurkscheit HARP Janet Harriman

OPERA COLORADO CHORUS SOPRANOS Becky Bradley Susan Clark Michelle Daniels Lindsey French Natasha Gleichman Morgan Harmison†† Stephanie McCranie Brandt Ally Prugh Luisa Rodriquez

MEZZO-SOPRANOS Janet Braccio Claire Brooker Andrea Kehmeier Kelly Klussman Ellen Moeller Josie Noble Susan Rahmsdorff Cassidy Smith†† Jan Tilden

TENORS Joshua Bouillon†† Nathan Kleine Deters David Ellwood Seth Fetzer George Lemmon Park Wm. Showalter Norman Spivy Joseph Taczak Steve Walz Keith Williamson

BARITONES William Bradley George Cox Shane Delavan Michele DiNuovo Jeff Dixon Jamie Halladay Greg Morrison Nicholas Navarre ††Opera Colorado Young Artists

PRODUCTION STAFF MUSIC STAFF Katherine Kozak, Rehearsal Accompanist Steven Aguiló-Arbues, Chorus Accompanist Kim Peoria, Orchestra Personnel Manager Ingrid Peoria, Orchestra Librarian PRODUCTION STAFF Hally Albers, Production Manager Lisa Kelly, Stage Manager Lisa-Marie Lange, Assistant Stage Manager Katie Preissner, Assistant Director Heather Romig, Assistant Stage Manager Jeremy Sortore, Title Coordinator Beth Nielsen, Title Operator Park Wm. Showalter, Chorus Liaison Stan Anderson, Supernumerary Captain Brian Greffe, MD, Company Physician Buzz Reifman, NPPA, Company Otolaryngologist TECHNICAL STAFF Dennis Watson, Head Carpenter Don Watson, Shop/Production Carpenter Bert Hedrick, Assistant Carpenter Ernest Mosman, Assistant Carpenter

Jeff Reidel, Head Flyman David Arellano, Head Electrician Chris Green, Light Board Operator Charles Wilson, Head Follow Spot Operator Sindy Maupin, Assistant Electrician Patrick Howard, Assistant Lighting Designer Bill Hansen, Head Props Jeff Greenburg, Assistant Properties Master Charles Polich, Head Sound Amber LeFor, Purchasing Agent ELLIE CAULKINS OPERA HOUSE CREW Albert Sainz, House Prop Dave Wilson, House Electrician Perry Elliot, House Carpenter Michael Cousins, House Sound COSTUMES Ann Piano, Costume Director Alison Milan, Shop Manager and Wardrobe Head SHOP ASSISTANTS Kevin Brainerd Meredith Fogg Irina Nekrasova Barbara Piano Elizabeth Porter Annabel Reader

DRESSERS Karen Billingsley Kevin Brainerd Amanda Clark Brad Davis Theresa Larsen Hadley Spano VOLUNTEER DRESSERS Leslie Cady Jan Hiemer Kathy Heider Pat Smith Barbara Wilder WIGS AND MAKEUP Sarah Opstad, Associate Wig and Makeup Coordinator Nikki Harrison, Wig and Makeup Assistant PHOTOGRAPHER Matthew Staver VIDEOGRAPHER Brad Stabio ARTISTS HOSTS Host Chairmen: Merrill Shields Susan Adams Evan and Elizabeth Anderman Marianne and Stan Anderson Kenneth and Donna Barrow Suzanne Bucy

Leslie and Lew Cady Ellie Caulkins Wendy Cogdal Brian Crane Jill Crow Virginia Dudden Penny Eucker Diane Fee Celeste Fleming Sigrid Freese Karen Frisone Nancy Hawkins Jennifer Heglin Charles and Ursula Kafadar Steve Lawrence Irene Ledesma Diana Lee Sarita List Pam and Mo Mathews Tanya Mathews Heather McKinnon Pamela Merrill Joanna Moldow Robert Montgomery Darrel and India Mount Marilyn Olen Frank Parce Merrill Shields Harry and Vicky Sterling Astrid Stocks Martha Tracey Diane Wallace Maradith Wilkins Romeo and Juliet PROGRAM

ANNUAL CONTRIBUTORS FOUNDATIONS, CORPORATIONS AND GOVERNMENT The Board of Directors of Opera Colorado and the staff wish to acknowledge the extraordinary generosity of the foundations, corporations and government agencies that made contributions in support of our general operating expenses and education and community programs from January 1 through January 31, 2013. Although space limitations only allow us to list donors whose gifts were $250 and above, we are deeply grateful for the support of all our dedicated contributors. Every effort has been made to ensure the accuracy of our donor list. However, if you name is incorrectly listed, please accept our sincere apologies and call Isis King at 303.468.2029. ANGEL ($100,000+) Avenir Foundation Scientific and Cultural Facilities District COMPOSER ($50,000+) Boettcher Foundation Bonfils-Stanton Foundation Rassman Design * Residence Inn by Marriott * Shamos Family Foundation IMPRESARIO ($20,000+) The Anschutz Foundation Anonymous Galen & Ada Belle Spencer Foundation Gates Family Foundation Sidney E. Frank Foundation DIRECTOR ($10,000+) Chambers Family Fund Colorado State Bank and Trust The Crawley Family Foundation Faegre Baker Daniels Fine Arts Foundation

Craig Johnson and Alicia McCommons

Romeo and Juliet PROGRAM

Higbie Family Foundation Hood-Barrow Foundation Jess & Rose Kortz and Pearl Rae Foundation JFM Foundation Magnolia Hotel * Tulsa Community Foundation Virginia W. Hill Foundation Wittow Foundation MAESTRO ($5,000+) Ann & Gordon Getty Foundation Caulkins Family Foundation CIBER, Inc. The Curtis * Denver Lyric Opera Guild Fairfield and Woods, P.C. Fidelity Investments Charitable Gift Fund Jeanne Land Foundation J. Michael King, MD & Peak ENT and Voice Center Kinder Morgan Foundation M.D.C./Richmond American Homes Foundation

Private Capital Management, Inc. The Westin Tabor Center Hotel * DIVA ($2,500+) Bucy Family Fund Denver Post Charities Fogo de Chao Hawk Family Foundation International Expeditions James A. Dooley Foundation Laff Foundation, Inc. Kevin Taylor Restaurant Group * COMPRIMARIO ($1,000+) Brio Tuscan Grille Carson-Pfafflin Family Foundation Colorado Academy of Lifelong Learning David B. and Gretchen E. Black Family Foundation Fuller Family Fund G.G. Shaw, Inc. Hotel Teatro * The John G. Duncan Charitable Trust Lincoln Financial Foundation, Inc. Livingston Family Foundation

Dirk and Joyce de Roos

Louis and Harold Price Foundation Sage Hospitality Resources The Schramm Foundation The TriZetto Group US Contract Sewing * William D. Radichel Foundation CHORISTER ($500+) Chapman Foundation The Garrett Family Foundation Montague-Clouse Charitable Giving Fund Neiman Marcus Schwab Fund For Charitable Giving Western Union Foundation Worthen Family Trust Wells Fargo Advisors * AFICIONADO ($250+) Alphagraphics Community First Foundation Coohills M2 Lending Solutions LLC Nelson Family Foundation * Gift In-Kind

ANNUAL CONTRIBUTORS INDIVIDUALS The Board of Directors of Opera Colorado and the staff express their deepest appreciation to the individuals who have contributed to the Annual Fund. This generosity enables Opera Colorado to continue producing opera of the highest artistic merit and to reach over 35,000 school children and adults each year. The following list acknowledges individual donors who made gifts to Opera Coloradoâ&#x20AC;&#x2122;s Annual Fund from January 1 through December 31, 2012. Although space limitations only allow us to list donors whose gifts were $250 and above, we are deeply grateful for the support of all our dedicated contributors. Every effort has been made to ensure our donor list is accurate. However, if you name is incorrectly listed, please accept our sincere apologies and call Isis King at 303.468.2029. IMPRESARIO ($20,000+) Mr. and Mrs. Kenneth T. Barrow Mike and Julie Bock Ellie Caulkins Mr. and Mrs. Dirk de Roos Ms. Hilja K. Herfurth Mr. Michael A. Hughes and Ms. Karen L. Brody Mr. and Mrs. Harold R. Logan Jr. Jeff Baldwin and Debra J. Perry Mr. and Mrs. Richard L. Robinson Susan and Jeremy Shamos Merrill Shields and M. Ray Thomasson Patrick Spieles and Carol McMurry DIRECTOR ($10,000+) Mrs. Susan Adams Mr. and Mrs. Bruce Allen Al and Rebecca Bates Ms. Sheila S. Bisenius Peyton Bucy and Suzanne Dost Bucy Mr. Gregory A. Carpenter

Shirley and Marlis Smith

NĂśel and Thomas Congdon Mary and Tom Conroy Dr. Stephen L. Dilts Joy and Christopher Dinsdale Hugh A. Grant and Merle C. Chambers Mr. and Mrs. C. Y. Harvey Harley and Lorraine Higbie Dr. and Mrs. Charles B. Kafadar Mr. and Mrs. Jeremy F. Kinney Honorable and Mrs. Kenneth Laff Dr. and Mrs. William N. Maniatis Mrs. Jan P. Mayer Mrs. Rhea Miller Ms. Muffy Moore and Mr. Al Minier Quinette Family Fund Ann and Gerald Saul Alessandra and Ben Schulein Marlis and Shirley Smith Vicki and Harry Sterling Mr. Robert Swift and Mrs. Elizabeth Swift Mr. and Mrs. Charles I. Thompson Martha and Will Tracey

Mr. and Mrs. Richard M. Weil Herbert Wittow MAESTRO ($5,000+) Mr. David I. Caulkins Mr. John N. Caulkins Mr. David Clayton and Ms. Marcy Kontak Mr. and Mrs. Robert Damrauer Robert S. Graham Celeste and Jack Grynberg Craig N. Johnson and Alicia McCommons Diana and Mike Kinsey Frank and Virginia Leitz Tom and Mary Meade Mr. and Mrs. Larry Mizel Robert R. Montgomery and Nancy Hawkins Mr. and Mrs. Leonard M. Perlmutter Craig and Maria Ponzio Myra and Robert Rich Mr. and Mrs. George G. Shaw Mr. Victor Stabio Mrs. Beatrice B. Taplin Dick and Pat Tucker

Byron Watson Mrs. Carol C. Whitley Maradith and Rusty Wilkins Larry and Brigitte Zimmer Anonymous (2) DIVA ($2,500+) Mr. Michael Baller Mr. James L. Berggren Mrs. Sue M. Cannon Thomas and Virginia Carr Mr. and Mrs. Robert B. Clasen Eric Coomer and Amber Hess Mr. Ron Covey Terry Frazier and Kathy Wells Mary Sue and Bob Hawk Synergy Fine Wines Dr. and Mrs. Jeremy Lazarus Ms. Carole Leight Ms. Janet R. Mordecai Mr. and Mrs. George R. Ondeck Bruce Polkowsky and William Powell Nijole and Walter Rasmussen Juan and Alicia Rodriguez

Richard and Britany Weil Romeo and Juliet PROGRAM

ANNUAL CONTRIBUTORS CONTINUED COMPRIMARIO ($1,000+) Ed Altman and Dina Brudenell Altman Mr. Hartman Axley Mr. John E. Baril and Mr. Brian Cook Peter Batty and Paula Kechichian Jan Baucum Brian Bennett and Bev Daniels Robin E. Black Brian Bross M.D. and Bonnie Daniels Ms. Karen M. Bruggenthies Dr. Bill and Betty Buchanan Lew and Leslie Cady Mr. and Mrs. Douglas Cain Mr. and Mrs. Lawrence G. Carpenter Mark and Margaret Carson Mr. and Mrs. Maxwell Caulkins Mr. and Mrs. George P. Caulkins III Mr. David J. Chavolla G. Kevin and Virginia Conwick Steve and Pat Corder Ms. Kathleen Crapo Ms. Jill Irvine Crow Ze and Dick Deane George and Yonnie Dikeou Mr. Tyson Dines III James Donaldson and Ellen Anderman Dr. and Mrs. Louis Duman Mr. and Mrs. Charles R. Eggert Jack Finlaw and Gregory Movesian Celeste Fleming Karen Fukutaki Mr. and Mrs. George C. Gibson Sandra S. and Jean A. Hall Deborah Hayes and James L. Martin III Beverlee B. Henry and The Honorable Robert P. Fullerton Richard G. and Jean L. Higgins Drs. Kathryn Hobbs and Marc Cohen Carol Ann Hoffman Marcia Holt and John Holt Eileen Honnen Steven and Chryse Hutchins Gary and Judith Judd Dr. and Mrs. John N. Kabalin Joe and Francine Kelso Roberta and Mel Klein Sally and Jim Kneser Dr. Kendra Kohlhaas Ms. Dagmar Kress

Romeo and Juliet PROGRAM

Mr. and Mrs. Edward J. Krisor Mr. John T. Lake and Mr. Harold Winters Dr. Pauline Langsley Mrs. Patricia A. Livingston Pam and Mo Mathews Veronica A. McCaffrey and Barbara A. Frank Barbara McDonnell Dave and Miza McReynolds Paul and Phyllis Miller Lynnette Morrison Dr. and Mrs. Calvern E. Narcisi Drs. Sarah and Harold Nelson Ms. Marian Ordway Dines Carl Patterson Dorothy Pearson Bonnie C. Perkins Mr. and Mrs. Paul O. Wimer Zondra Rae Pluss Rick Poppe & Jana Edwards Mr. Thomas J. Powers Jr. Charles and Reta Ralph T. R. Reid and Margaret McMahon Mr. Kent A. Rice and Ms. Ann M. Corrigan Steven and Joan Ringel Ms. Deborah Rohan Ms. Ruth E. Schoening Ruth S. Silver Linda and Paul Sinsar Dr. and Mrs. Richard Southwell Rosemarie and James D. Voorhees Christopher Price and S. Edith Taylor Jerry and Debi Tepper Elizabeth Tracey Mr. and Mrs. John R. Trigg Richard Tubbs and Marilyn Smith Ed and Patty Wahtera Kenneth and Mary Willis Anonymous (3) CHORISTER ($500+) Marilyn and Jules Amer Mr. and Mrs. William B. Anderson Mr. Randall Anderson Mr. and Mrs. John Ashby Kathy Bankoff-Friedland Dr. and Mrs. Sol H. Bassow Mr. Donald C. Bauder Dr. and Mrs. Henry J. Beckwitt Mr. and Mrs. Fredric H. Bender Drs. Tomas and Diane Berl Charles E. Berry Mr. and Mrs. John Bily

Rene Blanchette Libby Bortz Rogene and Sandy Buchholz Judy and Duncan Burdick Bart and Jane Burnett Barbara and Ken Calkins George M. and Carol G. Canon Marjorie and Doug Carriger Charles Case and Phillip St. Cloud Barbara and Roger Chamberlain Prof. Gerald Chapman Ronald and Donna Charlin Alan and Barbara Charnes Ms. Kathryn Codo Catherine Cole Donna and Ted Connolly Dr. & Mrs. Robert Contiguglia Nancy Crow and Mark Skrotzki Ms. Cheryl M. Cruickshank Carolyn Daniels Richard T. and Margaret N. Dillon Jerri Lynn Modrall and Eric E. Doering TJ Donahue Ms. Eileen Druggish Laurie and Ben Duke III Maud B. Duke Walter W. and Maryruth Y. Duncan Ms. Elizabeth Dyer Mr. and Mrs. Carl A. Eklund Dr. Terry and Rebecca Escamilla Amy Feaster Dr. and Mrs. Larry S. Fisher Mr. and Mrs. Robert Follett L. Richard and Sigrid Halvorson Freese Ms. Jennifer Garrett Alan and Sally Gass Rev. and Mrs. B. J. George Dr. and Mrs. Burton Golub Dr. Daniel J. Greenholz Mark Groshek MD and Carl Clark MD Hugh and Nancy Grove Dr. and Mrs. Frederick L. Grover Sr. Jerry Jean Hale Mr. Thomas E. Healy and Ms. Erin S. Colcannon Lee and Margaret Henry Patricia Hill Pascoe Ms. Laura M. Hoffman Mr. William T. Hoffman Christine Hollander and Michael McGee

Whitney and Halle Holmes Ruth Hopfenbeck and George Hopfenbeck Jr. Michael E. Huotari and Jill R. Stewart Mr. and Mrs. Ken Johnson Kendor and Paulette Jones Mr. and Mrs. Robert Kaufman Leslie Kaye Robert and Mary Kelman Mr. and Mrs. Frank A. Kemp Dr. Randy Kessler and Ms. Dawn Nakamura-Kessler Mr. and Mrs. Arthur W. Kidder Dr. Lawrence Kim and Nhung Van Herbert E. and Darlene Kress Mr. Bernard Leason and Mrs. Frieda Sanidas Leason Ann and James Leh Deanna Rose Leino Don and Ingrid Lindemann Paul and Carol Lingenfelter Mr. Randall M. Livingston Charles and Gretchen Lobitz Patty Lorie Kupetz Tom and Ginnie Maes, The Kanter Kallman Foundation Marian E. Matheson Mr. Steven Mattics Daniel and Karen McAuliffe Veronica McCaffery Jim and Carole McCotter Kelly McCourt and Bryan Hickel Dr. and Mrs. Hugh J. McGee Jr. William and Virginia McGehee Rosie and Manuel Mendez Dr. Monica I. Minkoff and Mr. Harry M. Siegfried Mr. Henry B. Mohr Sue and Bill Mohrman Jon and Lynne Montague-Clouse Mr. and Mrs. Thomas Morton Dr. and Mrs. John Moyer Drs. Michael and Mary Moynihan Robert Nelson Kevin Oâ&#x20AC;&#x2122;Connor and Janet Ellen Raasch Mr. Steven Okuley Ronald Y. Otsuka Mr. Robert Palmer Ms. Joan E. Payne Christine and Harry Phillips Rich and Kim Plumridge Mr. and Mrs. Jeffrey A. Pontius Kathleen Price Robert and Mary Quillin

ANNUAL CONTRIBUTORS CONTINUED Irene M. Ibarra and Armando Quiroz Ms. Marcia L. Ragonetti Alexander & Cynthia Read Ayliffe and Fred Ris Mr. and Mrs. Paul Roberts Gregory Robbins Joe Ronnenberg Mr. Allan S. and Judith Rosenbaum Sig and Lucille Rosenfeld Mr. William E. Russell helen Santilli and Lyn Barber Mr. Henry R. Schmoll Gary D. Schrenk Mrs. Nancy H. Schulein Ms. Nancy Siegel Dr. and Mrs. Edwin R. Smith Lars & Jane Soderberg Mr. and Mrs. Larry D. Stephens James and Jenene Stookesberry Mrs. Marcia D. Strickland Jim and Sue Swanson Tim Sweeney Jim and Kate Taucher Alice and Frank Traylor John and Sharon Trefny Mr. and Mrs. Stephen True Mr. John B. Trueblood Ms. Marta Turnbull Stanley and Marcia Van Egmond Drs. Kathy Kennedy and Ben Vernon Mr. Paul Voilleque Brian and Sarah Volkman Hedy and Michael Weinberg Peter and Darcie Weiser Ms. Cia A. Wenzel Mr. and Mrs. Tor Westgaard Carol E. Wolf Cheryl McGinnis and Edward Woolman Scott and Karen Yarberry Ken and Charlotte Ziebarth Anonymous (4) AFICIONADO ($250+) Tucker and Dan Adams Frank J. Adler David and Karen Ammar Ms. Carol Anderson Catherine H. Anderson Mr. William Babich Nancy Battan Mr. Edguardo Belen Mr. and Mrs. Mitchell Benedict III Mr. and Mrs. Bruce Berger

Linda E. Bjelland Ms. Kathleen Bollard Stanley and Virginia Boucher Brewster and Helen Boyd Ms. Jay Breen Darrell Brown and Suzanne McNitt Gordon & Ron Butz Edwin T Callahan Mark Campbell Everett Clark Jim Coffman Robert I. Cohen and Gloria Lilly Cohen Alan and InHye Como Mr. and Mrs. James W. Cozens Brian D. Crane Mr. and Mrs. James E. Culhane Dr. William & Mrs. Virgina Moore Dahlberg Ms. Katy Daniel Helen Shreves Ronald L. Deal Dr. and Mr. Deborah Deeg Ms. Felicia L. Diamond Marcus & Wendy Divita Max and Joyce Douglas Peter and Marian Downs Mrs. Helen N. Driscoll Mr. Robert Duncan Philippe and Cynthia Dunoyer Ms. Judie Eidson Mr. and Mrs. Joseph J. Elinoff Kate Emerich Ms. and Ms. Marlena Fernandez Mr. Michael Frontera Mr. Mike Glover Mr. Gregory Griem and Ms. Jennifer Bourne Ms. Gina Guy Mr. Kamal Hamid Mr. Richard H. Hart Mr. and Mrs. Yoshiko Hata Hal and Marty Hendershot Mrs. Diane Henry Karin Henszey Mr. and Mrs. Garrison L. Horle Mr. and Mrs. Ted Horrell Ms. Jane A. Hultin Paul W. Husted Jelica and Henry Philip Isely Marvin and Carole Johnson Eric E. Johnson Ms. Judy Johnston Dick and Mary Anne Johnston James and Jean Johnston Mr. and Mrs. Howard B. Jordan

Kelly McCourt and Bryan Hickel Mr. and Ms. Larry W. King Eileen and Walter Kintsch Michael Kolotylo Elmer and Doris Koneman Mr. and Mrs. Maurice A. Larue Jr. Mr. Richard S. Leaman Robert & Gloria Lilly-Cohen Robert and Patricia Lisensky Mrs. R. T. Lyford Jr. Mr. and Mrs. John D. MacFarlane Janet and David MacKenzie Ms. Heather Mackinnon K. Frederic and Linda Mai Mr. and Mrs. Gilbert Y. Marchand Mr. and Mrs. Austin Marquis Jeff Marshall and Shawn Finnegan John and Minda Marshall Ms. Tanya R. Mathews Myron McClellan and Lawrence Phillips V.W. McKnab and Margaret Jurado Bob and Mereth Meade Frank and Patricia Mercado Mrs. Nathaniel C. Merrill Ms. Katherine Migaki Mr. and Mrs. James Mills Frend John Miner and Jeff Lawhead Mr. and Mrs. Robert J. Malone Mr. and Mrs. Mike Monahan Mr. Bill R. Moninger Mr. Charles Mueldener Mr. and Mrs. Matthew Murphy Mr. and Mrs. Chris J. Murphy Dora and Peter Neidecker

Mr. and Mrs. W. Peterson Nelson Dr. and Mrs. David A. Norris Maureen and Benjamin Nystuen Kent & Ruth Obee Mr. Kurt M. Olender and Ms. Kam C. Wong Stephanie Oram Andrew R. Pleszkun Mrs. Kathryn L. Pride Mr. Namaste Reid and Ms. Heather Collins Gene & Nancy Richards Karyn K. Rieb Marguerite Romero Mr Doug Rooney Carol L. Roslund Mary Ann Ross Paul D. Rubner and Vicki D. Jensen Clarice Ruckhaus Stephanie and Alan Rudy Jack and Ruth Salter Ms. Eleni Sarris Karen L. Sather Bob and Lori Schuyler Mr. John Shott and Mrs. Heidi M. Munzinger-Shott Ms. Phyllis Shushan and Mr. Carl Shushan Catherine K. Skokan Mr. and Mrs. Lawrence A. Sluss Mr. Norman Spivy Dr. Richard Stienmier Mrs. Donna J. Stiles Drs. Morris and Ellen Susman Ms. Rhonda Sweeney Ms. Judith Taubman Romeo and Juliet PROGRAM

ANNUAL CONTRIBUTORS CONTINUED Ms. Barbara Thorngren Dr. and Ms. James Kennedy Todd Mr. Robert C. Tripp Marjorie S. Tweedy Gretchen Vanderwerf and Gordon Jones

Mrs. and Mr. Natalia Veazey Mr. Kenneth Vogel Harry and Terri Vogler Carley J. Warren Mr. Jack Watson Ms. Marilyn L. Wheeler

Anne Williams Dr. and Mrs. Raymond Yost Dr. and Mrs. Jack Zable Sue and Carl Zimet Jeri Zucherman Anonymous (3)

TRIBUTES AND VOLUNTEERS In memory of Robert G. Anderson Ms. and Mr. Stephanie A. Olson In memory of Dr. Charles Baucum Mr. and Mrs. Robert G. Holman Janet and David MacKenzie Dr. and Mrs. Gary S. Gutterman Mr. Bill Lowrey In memory of Hugh John Bennett Ms. Shirley M. Dickerhoff Ms. Juliette R. Judson Mr. and Mrs. Edward Texel In honor of Suzanne Bucy Mrs. Nancy H. Schulein In memory of Ruth Gallagher Bush Mr. Chris Blackwood Ms. Debbie Leibold Ms. Christine Hancock Ms. Elizabeth Degrood Ms. Ruth M. Grier Ms. Jody Burtness Quincy Place at Pinehurst HOA Ms. Elizabeth Meicke

Inn honor of Carol Leight on her birthday Mr. Charlie Leight In memory of Robert J Anderson Mr. John P. Lockner D Ziemkowski Ms. Maryanne Eger Ms. Shirley A. Scott In honor of Hon. Carlos F. Lucero and Mrs. Dorothy Lucero Ms. Jill Oldak In honor of Clare Kim Plumridge on Mothers Day 2012 Mr. Andrew Plumridge In memory of Beloved son Joshua Mr. and Mrs. Joseph Psuik III In memory of Leona Rozinski Ms. Mary O’Neil In honor of Alessandra Schulein Mrs. Nancy H. Schulein

In honor of Eleanor N. Caulkins Mr. and Mrs. John Ashby Michaud Capital Management

In memory of Merrill Shields on her birthday Dr. Katherine Horrigan

In honor of Mrs. Ralph Duke Ms. Marianne Duke

In honor of Reuben Sironen Ms. Nancy Templer

In honor of Charles and Ursula Kafadar Mr. and Mrs. Lawrence A. Sluss

In memory of Mr. Rodney J. Smith Ms. Donna E. Smith

In honor of Ken Laff’s 60th Birthday Arlene and Barry Hirschfeld

In honor of Ida Smith Ruth S. Silver In memory of William E. Stiles Jr. Mrs. Donna J. Stiles

Romeo and Juliet PROGRAM

In honor of Carol C. Whitley Mrs. Nancy H. Schulein In memory of Ruth York Marlis and Shirley Smith Ms. Cynthia Kendrick

VOLUNTEERS Kate Adams Sandy Adams Linda Alden Marianne Anderson Stan Anderson Debra Ardelt Eric Bard Laurel Barsa Betsy Beck Irene Betin Barbara Bower Jeff Brown Sharon Bundy Joan Camozzi Donna Chrysler Joyce deRoos Stephen Dilts Virginia Dudden Peggy Engel Hellen Erickson Victor Fabrizio Terry Frazier Sigrid Freese Gay Greenleaf Lillian Hadley Louann Heene Jenny James Kirsten Jensen Gwyneth Johansen Robert Kahn Emilie Kintner Dean Klassen Madge Klassen

Paull Kupler Sally Lammers Susan Landers Melinda Leach Nancy Lumbye Jim Macdonald Heather MacKinnon Amy Martinez James Martinez Cheryl McGinnis Patricia Meier Joanna Moldow Ben Moore Terri Morzos Ruth Moseller Kathleen Ness Marilyn Olen Frank Parce David Pessel Eva Phibbs Donna Ries Ellie Roberts Therese Schoen Ruth Schoening Patricia Skurnik Susan Sonne Dean Sotiriou Syrma Sotiriou Mary Stirling Jenene Stookesberry Katerina Therianos Linda Vigor Virginia Warner Candice Watts Wendy Wenkstern Chris Whittels Janet Wolfer Christel Woody John Zeising Frank Zoske

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Coming Up at Opera Colorado Thursday, March 28 â&#x20AC;˘ Student dress rehearsal of Don Giovanni | Ellie Caulkins Opera House

Saturday, February 9 â&#x20AC;˘ 2013 Season Opening Night Dinner | Four Seasons Hotel Denver â&#x20AC;˘ Opening night of Romeo and Juliet | Ellie Caulkins Opera House

Saturday, March 30 â&#x20AC;˘ Don Giovanni Opening Night Dinner â&#x20AC;˘ Opening night of Don Giovanni | Ellie Caulkins Opera House â&#x20AC;˘ Colorado Public Radio Live Broadcast of Don Giovanni on KVOD 88.1 FM

Tuesday, February 12 â&#x20AC;˘ Romeo and Juliet | Ellie Caulkins Opera House Thursday, February 14 â&#x20AC;˘ Student matinee of Romeo and Juliet | Ellie Caulkins Opera House

Tuesday, April 2 â&#x20AC;˘ Don Giovanni | Ellie Caulkins Opera House

Friday, February 15 â&#x20AC;˘ Romeo and Juliet | Ellie Caulkins Opera House

Friday, April 5 â&#x20AC;˘ Don Giovanni | Ellie Caulkins Opera House

Sunday, February 17 â&#x20AC;˘ Romeo and Juliet (matinee) | Ellie Caulkins Opera House â&#x20AC;˘ Colorado Public Radio Live Broadcast of Romeo and Juliet on KVOD 88.1 FM

Saturday, April 6 â&#x20AC;˘ Opera Colorado Young Artists Performance | Cherry Creek Shopping Center Sunday, April 7 â&#x20AC;˘ Don Giovanni (matinee) | Ellie Caulkins Opera House

Wednesday, February 27 â&#x20AC;˘ â&#x20AC;&#x153;The Science of Loveâ&#x20AC;? Event | Denver Museum of Nature and Science

Wednesday, April 10 â&#x20AC;˘ Shop at Whole Foods Market Cherry Creek to Support Opera Colorado

Wednesday, March 6 â&#x20AC;˘ The Barber of Seville (abridged, English version) by the Opera Colorado Young Artists | Broomfield Auditorium

For more information on upcoming events, visit www.OperaColorado.org. All dates subject to change. Check the website for the most up-to-date information.

Wednesday, March 20 â&#x20AC;˘ Meet the Artists of Don Giovanni | Tattered Cover LoDo Saturday, March 23 â&#x20AC;˘ Opera Colorado Young Artists Arias & Ensembles: Greatest Hits | Cherry Creek Shopping Center 13-g3; B;337 BĂ&#x2020;AĂ&#x2020;;-2Ă&#x2020;

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Romeo and Juliet M in the Classroom

iddle school classes in Highlands Ranch and Elizabeth had a very special final project to conclude their immersive Generation OC (for Opera Colorado) program. Students at Rocky Heights Middle School and Elizabeth Middle School were tasked with creating a poster to market Gounodâ&#x20AC;&#x2122;s Romeo and Juliet to their peers. Under the guidance of Opera Colorado Education Staff Cherity Koepke and Meghan Benedetto, these talented students came up with some pretty impressive ideasâ&#x20AC;Ś

Rocky Heights Middle School

Second Place winning poster Third Place winners with their poster

First Place winners with their poster

Student posters

Elizabeth Middle School

First Place winner with her poster

Audience Choice Award winning poster

Student posters

Visit OperaColorado.org or our Facebook page to view all the posters and videos of students talking about their work. ROMEO AND JULIET | Page 22

Audience Choice Award winning poster

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Romeo and Juliet will be broadcast live on Colorado Public Radio’s statewide classical music channel on Sunday, February 17th at 2:00 p.m. Tune in to 88.1 FM or listen online at www.cpr.org. Thanks to Ellie Caulkins for making this live broadcast possible. CPR’s extended live broadcast season includes performances by The Colorado Symphony Orchestra and two complete performances by Opera Colorado. Additional information is available at www.cpr.org.

The live broadcast of Romeo and Juliet is engineered by Mike Morgan and Isle of Skye Audio Productions, offering the finest in location recording and production. Find them at www.recordclassical.com. Mike Morgan, tenor39@mindspring.com, 407.595.8336.

Masterworks for opera lovers.

MARCH 1-3

APRIL 26-28

MAY 10-12

Andrew Litton, conductor Colorado Symphony Chorus, Duain Wolfe, director Amber Wagner, soprano Michelle DeYoung, mezzo-soprano Dimitri Pittas, tenor Ray Aceto, bass

Scott O’Neil, resident conductor Nadja Salerno-Sonnenberg, violin

Matthew Halls, conductor Monica Whicher, soprano Meg Bragle, mezzo-soprano Lawrence Wiliford, tenor Nathan Berg, bass-baritone Colorado Symphony Chorus, Duain Wolfe, director

VERDI Requiem

REVUELTAS Sensemayá PIAZZOLLA The Four Seasons of Buenos Aires GERSHWIN “Bess, You Is My Woman Now” from Porgy and Bess COPLAND Symphony No. 3

MENDELSSOHN Elijah

Artists, dates and programs subject to change.

303.623.7876 / coloradosymphony.org Box Office: M-F 10 am - 6 pm; Sat 12 pm - 6 pm Keep up with us online!

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ROMEO AND JULIET | Page 24

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Join us for exclusive performances by Opera Colorado’s Young Artists on March 23 and April 6 in the Nordstrom court at Cherry Creek Shopping Center. Visit shopcherrycreek.com/events for more information.

We are Opera COLORADO! By Meghan Benedetto, Manager of Development

Two sets, 15 costumes, six singers, one pianist, one director, and a keyboard all packed into two SUVs for three weeks. No, this isn’t an episode of Survivor… …it’s Opera Colorado On Tour! Every March, the Opera Colorado Young Artists hit the road for The Greater Colorado Tour. While on tour, they perform two abridged operas for audiences outside the greater metro area.This season, they will be touring Bizet’s Carmen and Rossini’s The Barber of Seville, as well as the Arias & Ensembles program which is a concert style experience featuring highlights from operatic and musical repertoire.

The Adventures of Mr. Quacksworth Mr. Quacksworth has become a vital part of the 20122013 Opera Colorado Young Artists team, traveling with them, appearing on stage with them, and enjoying all the fame an opera star loves. What is so unique about Mr. Quacksworth?

He’s a duck-head cane prop from the Young Artists’ production of The Barber of Seville. Stay connected to all of Mr. Quacksworth’s drama, intrigue, and notoriety this Spring by following him on Twitter, @MrQuacksworth.

ROMEO AND JULIET | Page 26

Due to rehearsal time constraints, many of the in-school performances during the season are close to Denver. The Young Artists can’t perform The Barber of Seville in Crested Butte one day and have Romeo and Juliet rehearsals at the Ellie Caulkins Opera House the next day. These are opera singers, not super humans. While main stage exposure is important to emerging singers, so is performing for a wide range of audiences. Some remote areas have little access to fine arts, and for some, this might be their first opera experience. Plus, we are Opera Colorado after all. Our mission is to share the beauty of opera with the entire state and beyond (we regularly travel to Wyoming, too). And so, we make it a priority to create the Young Artists’ schedule so that during March there’s enough time to reach other areas in the region. This year, tour stops will include Gunnison, Lake City, Crested Butte, Buena Vista, Fairplay, and Estes Park. For all of us who can’t go on tour with the Young Artists, we can follow their trip through blog posts written by our own wordsmith and Director of the Young Artists, Cherity Koepke. I’ll admit, while they‘re away the Education Department gets pretty quiet, but these blogs help me stay connected. I read them even before I get to the office while I am eating breakfast at home… they are that entertaining. Here is an excerpt from last year’s tour blog to whet your appetite: This post is from the first day of tour last season: “The amount of stuff seven people come with is shocking. Really, we look like we’re moving across the country! There are seven suitcases, seven car bags and about twelve bags of snacks. Steven is the designated car packer. The rest of us take turns in moral support (code for standing around and offering advice on how to do it). On about the 4th try, he gets it all in the car. It’s packed in so tight, I’m not sure we can get it out, but we’re in and on our way! Next stop, Lake City! Wait – next stop, gas station. Fuel is a must on tour. Gas obtained, more snacks purchased, we’re on our way again. Next stop, Lake City. Wait – next stop, grocery store. Yes, believe it or not. This one is my fault. I forgot my contact lens case and unless I want to be wearing lenses cleaned in my lotion bottle, it’s a must too. Lens case obtained. Next stop, Lake City. You know what’s coming, right? Wait – next stop, the Coney Island hotdog stand in Bailey, Colorado. It’s on our way and the guys are hungry.” Tour Blogs will be posted on Facebook from March 6-22. Stay in touch, “like” the posts, comment, and don’t miss any installments! Do you know of a school or community venue that we should visit during the tour? If so, please contact Cherity Koepke at 303.778.0371.

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Planning Your Visit The Westin Denver Downtown

e appreciate the support and partnerships with hotels and restaurants in downtown Denver. We encourage fans of Opera Colorado to be fans of these sponsors. For more information about these sponsors, visit OperaColorado.org and click on “Plan Your Visit.”

The Oxford Hotel

Funky, cool and playful, The Curtis - a Doubletree by Hilton features 336 “pop culture” themed guestrooms, 22,000 square feet of meeting space and the Corner Office Restaurant + Martini Bar. The Magnolia Hotel Denver. Old world charm meets modern Magnolia style in our downtown Denver hotel, formerly the American National Bank Building. Opened in 1995, this Denver hotel has a total of 246 Rooms & Suites and 10,000 square feet of meeting space, including the magnificent Magnolia Ballroom.

Hotel Teatro

The Curtis a Doubletree by Hilton

The Westin Denver Downtown offers weekend packages for opera, theater and ballet productions at the Denver Performing Art Complex. For additional information, visit their website and click on special offers. The Oxford Hotel features 80 uniquely appointed rooms in the heart of Denver’s LoDo District. A complimentary Town Car service will whisk you away to the Opera House for a magical evening.

The Magnolia Hotel Denver

Hotel Teatro, located just steps from the DPAC is Denver’s premier luxury boutique hotel, offering exquisite lodging accommodations for the opera enthusiast. On property you will discover Award-winning Chef Kevin Taylor‘s fine dining restaurants: PRIMA Ristorante and his signature Kevin Taylor Restaurant.

Fogo de Chão

Located in the heart of LoDo and within walking distance of the Pepsi Center and Union Station, Fogo de Chão is an authentic Southern Brazilian Steakhouse featuring a prix fixe menu showcasing 15 delectable cuts of meat, gourmet salads, decadent desserts, and an award-winning wine list. Prima Ristorante, located within Hotel Teatro across from the DPAC, features a seasonal modern Italian menu in a newly-renovated contemporary setting. Open daily for breakfast, lunch and dinner, Prima serves a late night bar menu with unique cocktails and an extensive wine list. For reservations, call (303) 228-0770. Located in the Chambers Grant Salon in the Ellie Caulkins Opera House, Kevin Taylor’s at the Opera House serves pre-theater cocktails and seasonally-fresh dinner cuisine on evenings with performances in the Ellie Caulkins Opera House, Buell Theater and/or Boettcher Concert Hall. For reservations, call (303) 640-1012.

Prima Ristorante Kevin Taylor’s at the Opera House

Limelight Supper Club & Lounge

ROMEO AND JULIET | Page 28

Located within the DPAC, Limelight Supper Club & Lounge serves dinner on performance days, as well as brunch prior to weekend matinées, but it is perhaps most popular for a quick intermission cocktail, allowing guests to carry a glass of wine back to their theater’s lobby. For reservations, call (720) 227-9984.

BOARD OF DIRECTORS Officers Michael Hughes, Chair Kenneth Barrow, Chair Emeritus Ellie Caulkins, Lifetime Honorary Chair Marcia Robinson, President Charles Kafadar, Treasurer, President of the Opera Colorado Foundation Susan Adams, Secretary Dirk de Roos, Vice President, General Counsel Carol Crossin Whitley, Vice President Committee Chairs Stephen L. Dilts, Co-Chair, Education & Community Programs Joy Dinsdale, Co-Chair, Education & Community Programs Craig Johnson, Chair, Development Committee Larry Zimmer, Chair, Audience Development Committee Directors Bruce Allen Sheila Bisenius Michael Bock Suzanne Dost Bucy Mary Conroy Jill Irvine Crow, Honorary Director Nellie Mae Duman, Honorary Director Jack Finlaw Hugh Grant Charles Kafadar Jeremy Kinney, Honorary Director Loring W. Knoblauch, Lifetime Honorary Director The Honorable Kenneth M. Laff

Kelly McCourt Kalleen Malone William Maniatis Pamela Merrill Mary French Moore Gerald Saul Alessandra Schulein Jeremy Shamos, Honorary Director Susan Shamos, Honorary Director Shirley Smith Harry Sterling Robert Swift Martha Tracey Byron Watson Britney Weil Randall Zisler

Bring the opera home with you! New Opera Colorado merchandise is available for sale in our lobby. Show the world you are an Opera Colorado fan! Next time you come to the opera, stop by and pick up a souvenir to remember your trip to Opera Colorado.

OPERA COLORADO STAFF Ovation! Magazine and In-Theatre programs are produced for Opera Colorado by The Publishing House.

GREG CARPENTER, GENERAL DIRECTOR ADMINISTRATION Darrel Curtice, Director of Finance & Administration Julie Nowasell, Staff Accountant

Angie Flachman-Johnson: Publisher Wilbur E. Flachman: President & Founder Annette Allen: Art Director, Production Coordinator

ARTISTIC AND PRODUCTION Brad Trexell, Director of Artistic Operations Hally Albers, Production Manager

For advertising information, call 303-428-9529 www.pub-house.com www.coloradoartspubs.com

DEVELOPMENT Meghan Benedetto, Manager of Development Isis King, Manager of Development Systems EDUCATION Cherity Koepke, Director of Education & Community Programs Emma Martin, Education Intern MARKETING Camille Spaccavento, Director of Marketing and External Affairs Erin Acheson, Marketing & Promotions Coordinator Laura Kirby, Ticket Services Manager Katie Bulota, Assistant Ticket Services Manager Ed Mickens, Temp. Asst. Ticket Services Manager

Opera Colorado Service Directory Tickets Online: OperaColorado.org Season Ticket and Group Sales Office: 303.468.2030 Ticketmaster: 1.800.982.2787 TTY for Ticketmaster: 1.800.755.6244 Opera Colorado Administration 303.778.1500 695 S. Colorado Blvd, Suite 20 Denver, CO 80246

Ellie Caulkins Opera House 1106 14th Street (14th and Curtis Street) The Ellie Caulkins Opera House is part of the Denver Performing Arts Complex, owned and operated by the City and County of Denver, Division of Theatres and Arenas. Lost and Found: 720.865.4220. Dining at DPAC Kevin Taylorâ&#x20AC;&#x2122;s at the Opera House: 303.640.1012 Limelight Supper Club: 720.227.9984 Online reservations: www.restaurantkevintaylor.com.

Opera Colorado is grateful for support from the Scientific and Cultural Facilities District (SCFD).

Find us on: Page 29 | ROMEO AND JULIET

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