CU Presents Magazine Takács Winter 2014, Jan. 12-13

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music

experience the

2013–2014 Season Global performance. World-class entertainment. You have to be here.


BOULDERBALLET

Stepping Out

2014

20132014 SEASON • Storybook Ballet C’est La Vie a student performance

March 7–9

• Coppélia

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A unique and varied concert of contemporary dance theatre.

February 21–23, 2014 Dairy Center for the Arts, Boulder Box Office: 303.444.SEAT (7328)

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May 11

• Ballet in the Park free outdoor concerts

June 22–29

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From the Executive Director

Table of Contents

CU Presents Staff

6

CU Presents Ticket Policy

6

Theatre/Dance Season

8

Shakespeare Season Program

20 Center

Faculty Tuesdays

22

Artist Series Donors

24

Takács Quartet Donors

26

CU Opera Donors

28

Upcoming AS Presentations

30

CU Opera Ad

32

CU Presents Season Ad

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College of Music Advisory Board

Dear Friends, The advent of a new year is a time of beginnings, of optimism and fresh perspective. CU Presents seeks to offer our patrons experiences that likewise refresh and renew perspective, and engage them with the larger world. The next few months will feature everything from athletic Taiko drumming to music as varied as the Venice Baroque Orchestra and jazz fusion greats Chick Corea and Béla Fleck. We’re proud to bring such distinguished and diverse artistry right to your doorstep in beautiful Boulder. If not for CU Presents, our community might never get to experience such world-class entertainment right here at home. This winter will also feature dozens of free concerts by faculty and students at CU-Boulder’s nationally recognized College of Music as well as many affordable performances, from traditional to edgy, by faculty and students in the Department of Theatre and Dance. We thank you for coming, and we hope to see you many more times this winter and spring as you enjoy the very best of the performing arts on the CU-Boulder campus. Have a great time! Warm regards,

Joan McLean Braun Executive Director Global performance. World-class entertainment. You have to be here.

James Austin, Interim Dean Christopher Brauchli Robert F. Bunting Jan Burton Coleen Conant Martha Coffin Evans Tyler M. Forman Jonathan R. Fox David W. Fulker Grace Gamm Lissy Garrison Lloyd Gelman Doree D. Hickman David G. Hummer Daryl K. James Gary S. Joiner Caryl F. Kassoy Robert Korenblat Thurston E. Manning Erma M. Mantey Joseph T. Negler Susan J. Olenwine Michele Ritter Rebecca J. Roser Steven K. Taniguchi Jeannie Thompson Jack Walker ADVERTISING INFORMATION This program is produced for CU Presents by The Publishing House, a division of Colorado Word Works, Inc. Angie Flachman Johnson, Publisher Annette Allen, Art Director and Production Coordinator Stacey Krull, Graphic Design & Layout Wilbur E. Flachman, President For advertising information, call 303-428-9529 7380 Lowell Blvd., Westminster, CO 80030 www.coloradoartspubs.com


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Congratulations to the University of Colorado College of Music, whose efforts have brought entertainment, learning, melody, percussion and passion to our community. We’re proud to sponsor the University of Colorado College of Music.

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Every Every Journey Journey Begins Begins with with aa Single Single Step. Step. Every gift makes a big difference! Every gift makes a big difference! Our concerts and productions depend on private Our concerts and productions depend private donations from audience members likeon you. We donations from audience members like you. We encourage you to use the envelope in the center encourage you to thea envelope in the of this program to use make gift that will helpcenter us of this program to make a gift that will helpworld us continue to bring global performance and continue to bring global performance and world class entertainment to Boulder! class entertainment to Boulder! Simply give your envelope to an usher or mail it Simply your envelope to anbe usher or online mail it at back togive us. Donations can also made back to us. Donations can also be made online at cupresents.org or by calling 303-735-6070. cupresents.org or by calling 303-735-6070. Thank-you for your support! Thank-you for your support!


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VENICE BAROQUE ORCHESTRA Thursday, Feb. 13, 7:30 p.m. Macky Auditorium Tickets start at $14

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One of the world’s premier ensembles devoted to period instrument performance, the Venice Baroque Orchestra has performed around the world and won critical acclaim. The orchestra brings freshness, ebullience and experimentation to early music.

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Concert at 7:30 pm Pre-Concert Talk at 6:30 pm Antonio Vivaldi The Four Seasons Astor Piazolla The Four Seasons of Buenos Aires

Hsing-Ay Hsu, Piano Friday at Saint John’s Cathedral 1350 Washington Street, Denver Saturday at First United Methodist Church 1421 Spruce Street, Boulder

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EDWARD DUSINBERRE, violin KÁROLY SCHRANZ, violin GERALDINE WALTHER, viola ANDRÁS FEJÉR, cello PROGRAM String Quartet No. No. 1 Lento Allegretto - Introduzione Allegro vivace

Béla Bartók (1881-1945)

Six Bagatelles, Opus 9 Mässig Leicht bewegt Ziemlich fliessend Sehr langsam Ausserst langsam Fliessend

Anton Webern (1883-1945)

Intermission Quartet in A Minor, Opus 132 I. Assai sostenuto - Allegro II. Allegro ma non tanto III. Molto adagio IV. Alla marcia, assai vivace V. Allegro appassionato

Ludwig van Beethoven (1770-1827)

T A K Á C S Q U A R T E T, J a n u a r y 1 2 & 1 3 , 2 0 1 4

THE TAKÁCS QUARTET


PROGRAM NOTES

T A K Á C S Q U A R T E T, J a n u a r y 1 2 & 1 3 , 2 0 1 4

Shulgold today

that unfolds as a slow, fugue-like episode. This, perhaps, is Bartók’s homage to Beethoven, Consider this a program of music for grownspecifically the fugal opening of the latter’s ups. Each of the three works is an intense Opus 131 Quartet. There are numerous other, exploration of the string quartet’s evernon-amorous influences: One hears traces expanding possibilities. From Beethoven’s of Wagner, early Schoenberg, Strauss and Late Quartets onward into the 20th (and 21st) Debussy, as well as the rhythmic bounce of Century, the focus of this intimate genre shifted Hungarian folk song in the final movement. The from pleasant works designed for home-based three sections are linked, with the finale set up amateur players (as envisioned by Haydn and by an “Introduction” marked by an extended Mozart) to intricate, advanced explorations cadenza for cello and a shorter one for violin. intended for four skilled professionals. Just as The tempo of the movements travels from today’s offerings provide serious challenges for brooding slow to unstable quick to manic superquartet members, this music also demands a fast. In the midst of the roller-coaster ride of high level of attention from audience members. the concluding Allegro vivace, a specter of Ms. As for the Webern, a warning: reading the Geyer briefly returns, in the cello’s quotation of program notes during its performance is strongly a popular Hungarian song, “Just a Fair Girl.” discouraged. For one thing, the musicians will The Quartet was premiered in March, 1919 by be finished playing long before you’re done the Waldbauer-Kerpely Quartet, following a reading—for another, watching these whisps preparation time reportedly encompassing 100 of music unfold reveals far more about what’s rehearsals! going on than any scholarly words. Six Bagatelles, Opus 9 Anton Webern * * * The word brevity is perfectly defined by String Quartet No. 1 Béla Bartók these six works, each emerging as a sort of musical haiku. Webern’s Opus 9 consists of Ah, the pains of unrequited love. That sad 57 measures, lasting around four minutes in story is found so often in music that it’s almost total—the shortest of the half-dozen barely become cliché—Beethoven, Mozart and extending past 20 seconds. The two outer Janáček are but three examples of composers movements were penned in 1913, while Two who loved and lost. Bartók is another. In 1907, through Five date from 1911. These Bagatelles, while on holiday at Jaszbereny, a country town along with several efforts from that period by east of Budapest, he met and fell for a Swiss Arnold Schoenberg and Alban Berg (Webern’s violinist name Stefi Geyer. “One letter from compatriots in the Second Viennese School) you,” he wrote her, “a line, even a word—and consciously abandoned traditional tonality— I am in a transport of joy, the next brings me often in works of similarly short length. As almost to tears, it hurts so.” The rocky courtship musicologist Charles Rosen said of the lasted a little more than a year, ending badly Bagatelles, “These miniatures...do not diminish for the young composer, but leading to a pair the emotions they express but enlarge them, of important early works. The Violin Concerto as if fragments of feeling were blown up by a No. 1 was written for her (though not published powerful microscope.” Nonetheless, audiences until 1956), while simultaneously, he was back then reacted strongly against Webern’s writing the String Quartet No. 1—the first of six music, starting a riot at one performance in monumental additions to the genre. Both the 1913. Though Opus 9 may seem puzzling to Concerto and Quartet contain music inspired our ears even a century after their completion, by his youthful passions for Geyer, who is the Bagatelles were enthusiastically embraced represented in each by a four-note “leitmotif.” by Webern’s friend and teacher, Schoenberg, Considering the circumstances, it’s no surprise who contributed a preface to the first edition. that the Quartet (completed in 1909) oozes Commenting on their length, he wrote that yearning, moody introspection, rays of hope music of such brevity “requires an advocate. and sighs of resignation, beginning with a Consider what moderation is required to express “funeral dirge” (the composer’s description) oneself so briefly. You can stretch every glance


String Quartet in A Minor, Opus 132 Ludwig van Beethoven It’s unavoidable that three of Beethoven’s final five String Quartets are viewed by some as a matched set. Opus 127, 132 and 130 emerged (in that order) from a commission offered in late 1822 by a Russian music-lover and devoted Beethoven fan named Prince Nikolai Galitzin, who graciously accepted the composer’s steep fee request and was equally cooperative when the deadline for completion was not met (The three were finally finished in late 1825). Further linking the Galitzin Quartets is the fact that Beethoven worked on them pretty much simultaneously—a common practice for the composer. Numerous themes and ideas sketched out for one work were occasionally shifted to another. Some motifs appear in more than one work, such as the four-note opening of Opus 132 that also appears in the Grosse Fuge and the opening of the Opus 131 Quartet. However, there is nothing interchangeable about these Late Quartets. Each exists in a universe all its own—some built in the traditional four movements, while others ranged from Opus 132’s five movements to 131’s seven. The stark intensity and scope of the music, composed in complete deafness and so near the end of Beethoven’s life, proved unprecedented. These are deeply personal and unpredictable works, soaring to lengthy, unimaginable heights, only to suddenly come back to

earth in a folksy dance or witty episode (notice the contrast of Opus 132’s 3rd and 4th movements). Not surprisingly, the Quartets drew mixtures of befuddlement and awe from their first listeners at private and public performances in late 1825 and early 1826. Today, we view these final works as Beethoven’s supreme achievements—pinnacles of chamber music, and of all Western music, for that matter. The other-worldly seriousness of Opus 132 (completed in July of 1825) is evident in its dark opening, though it’s soon dispelled by the sudden appearance of a major-key theme in the ensuing Allegro. More surprises await in the following Allegro ma non tanto, a charming minuet (rather than the expected Scherzo), leaning heavily on three- and five-note motives—its middle Trio section a delightfully simple high-pitched bagpipe-flavored folk tune. The expansive third movement serves as more than the centerpiece of Opus 132. It is the stuff of legend, a serene work that almost defies description. Though marked Molto Adagio, it is best known through the title affixed by Beethoven: “A Convalescent’s Holy Song of Thanksgiving to the Diety, in the Lydian Mode.” While he was immersed in Opus 132, Beethoven fell seriously ill with a stomach ailment—perhaps the most famous tummy ache in music history, since it inspired one of the composer’s most glorious masterpieces. “I am in great pain,” he told his doctor, who reprimanded the composer: “No wine; no coffee; no spices of any kind.” Beethoven slowly recovered in the country setting of Baden, where the Quartet was completed. This celestial music was inserted into the originally planned four-movement work, elevating it with its spiritual journey from darkness to light. The Lydian Mode in the main theme uses the notes of an F-major scale, with B-natural replacing B-flat. Midway through, the music changes to a cheerful new tune in D major, revealingly marked, “Feeling New Strength,” that will alternate with the Lydian theme in a series of brilliant variations. More surprises follow in the concluding movements: a brief march and even briefer tremolo-filled violin recitative that leads directly into the rondo finale. In a warm, accessible ending, Beethoven offers a lilting aria-like melody that later grows in intensity as it switches into the major. —Marc Shulgold

T A K Á C S Q U A R T E T, J a n u a r y 1 2 & 1 3 , 2 0 1 4

out in a poem, every sigh into a novel. But to express a novel in a single gesture, or joy by a single catch of the breath—such concentration can only be present when emotional self-indulgence is absent.” He makes a good point here: In carefully crafted miniatures such as these, every moment, every note counts. And, as Rosen observed, there is emotion here. Webern wrote to Berg in July, 1912 that his music during that period came as a response to the death of his mother six years earlier. For today’s listener, this music requires full attention, even if that higher level of engagement fails to make things understandable. As we noted above, Opus 9 is best experienced with eyes as well as ears: Seeing who does what and when and how, while observing the extreme communication among the players. A live performance can generate a response far deeper than listening to a recording, or perusing the score (which, by the way, provides an amazing visual treat). We’ll give Schoenberg the final word: “These pieces will be understood only by someone who has faith in music as the expression of something that can only be expressed in music.”


THE TAKÁCS QUARTET QUARTET IN RESIDENCE • UNIVERSITY OF COLORADO BOULDER

The University of Colorado welcomes applications to one of the most vibrant chamber music programs in the country. With exciting new scholarship opportunities, supported by the Takács Society and the Starling Foundation, the Takács Quartet is accepting students for individual study, and one pre-formed quartet to fill the Graduate Quartet Residency. Distinguished members of the faculty include:

Lina Bahn, violin

Paul Erhard, bass

Charles Wetherbee, violin

Nicolò Spera, guitar

Erika Eckert, viola

Janet Harriman, harp

Judith Glyde, cello

Margaret Berg, music education, strings

for more information about string chamber music at cu and the graduate quartet program, please contact:

Judith Glyde, Chair, String Faculty 301 UCB, College of Music Boulder, Colorado 80309 Judith.Glyde@colorado.edu • 303.492.5921

music.colorado.edu • takacsquartet.com

THE TAKÁCS QUARTET

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

DEGREE PROGRAMS: • Bachelor of Music • Master of Music • Doctor of Musical Arts • Professional Certificate in String Quartet Performance


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B L U E M O U N TA I N A R T S

C O L O R A D O S H A K E S P E A R E F E S T I VA L PRESENTS

2014 SEASON The Tempest The Merry Wives of Windsor

I Hate Hamlet

Henry IV: Part 1

Henry IV: Part 2

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2013-2014 Faculty Tuesdays recitals are held at 7:30 p.m. in Grusin Music Hall in the Imig Music Building. All performances are free and open to the public.

January 14: MUSIC FROM MY HEART: A collection of favorites: Join flutist Christina Jennings for an evening of beautiful and powerful music by Phillipe Gaubert, George Rochberg, Jake Heggie, and Toru Takemitsu. CU piano faculty Margaret McDonald and Colorado Symphony’s principal flutist, Brook Ferguson will also perform. January 21: AROUND-THE-WORLD TOUR WITH THE STRING FACULTY: For the first time ever, the string faculty comes together for an evening of chamber music. Journey with Lina Bahn, Charles Wetherbee, Erika Eckert, Judith Glyde, Paul Erhard, Nicolò Spera, and Janet Harriman through a wonderful program of works by Luigi BoccherinI, Fandango for guitar and strings; Carl Ditters von Dittersdorf, Quintet for strings; Carter Pann, “She Steals Me” for two violins and bass, François de Foss, for guitar, violin and cello; and Arnold Bax, Fantasy Sonata for Viola and Harp. January 28: MUSIC OF TIME AND SPACE: David Korevaar pairs Schubert’s great A Major Sonata, D. 959, with Fauré’s Theme and Variations and Nocturnes 6 and 7 as well as Barcarolle’s 5 and 8. February 4: HOT OFF THE PRESS! Faculty composer Daniel Kellogg will present two world premieres and a performance by the Colorado New Music Ensemble. The premieres will feature a violin duet performed by Charles Wetherbee and Lina Bahn, and a trio of Christina Jennings, flute, Matthew Dane, viola, and Hsing-ay Hsu, piano. The concert will conclude with Divinum Mysterium, a 35-minute work. February 18: Andrew Cooperstock, piano “AROUND THE WORLD IN 90 MINUTES” Professor of Piano Andrew Cooperstock welcomes friends Judith Glyde, Thomas Riis, Patrick Mason, Jacob Beeman, and William Terwilliger for a musical trip around the world, featuring works by Bright Sheng (China), Kwabena Nketia (Ghana), John Williams (US), Sergei Rachmaninoff (Russia), and more. Please join us for a fantastical voyage! February 25: Erika Eckert, viola and Friends: FAMILY: A MUSICAL PORTRAIT. Through music, texts and memorial Dedications, Composers Hillary Tann, Arvo Pärt, Dan Welcher, Peter Seabourne, and Paul Coletti and Poets Menna Elfyn, R. S. Thomas, Clemens Wenzelslaus, Brentano De La Roche, and Annie Dillard Share their feelings on children, parents, and loved ones lost. Join Erika Eckert, Margaret McDonald, Jennifer Bird-Arvidsson, Abigail Nims, Patrick Mason, Judith Glyde, and Charles Wetherbee for this wonderful musical portrait in honor of family. March 4: HINDEMITH AND FAURÉ: Geraldine Walther, viola, and David Korevaar will present two very different Hindemith Sonatas followed by Lina Bahn, violin, Britt Swenson, violin, and Judith Glyde, cello, in the premiere of Gabriel Fauré’s Second Piano Quintet using Carlo Caballero’s new edition. March 11: GYPSY JAZZ MARIMBA MAMBO: Doug Walter, marimba and vibraphone joined by Jacob Herold, saxophone, Jeff Jenkins, piano, Carl Dixon, hand drums;, and Steve Mullins, guitar & mandolin will perform a mix of virtuoso jazz, flamenco on fire, serious Gospel, Latin jam and slippery little devils. March 18: LIGHT AND SHADOWS: Exploring the emotional heights and depths of German Romantic Lieder from Schubert to Berg: Jennifer Bird-Arvidsson, soprano, David Korevaar, piano joined by Abigail Nims, mezzo-soprano.


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Pub House

Ars Nova Singers 28th Season _ Connections ^ 2013-2014

The Violin and the Voice:

In Concert with Edward Dusinberre Ars Nova Singers welcomes the first violinist of the Takacs Quartet in a special one-night-only collaboration at Macky Auditorium. Join us for this rare opportunity to hear one of the great violinists of our time, performing with Ars Nova Singers in contemporary works by Knut Nystedt, Rudi Tas, and Reed Criddle, as well as Edward’s first Boulder performance of the famous Chaconne (from Partita No. 2 in D minor) by Johann Sebastian Bach.

Saturday, February 8, 2014, 7:30pm Macky Auditorium, Boulder

Tickets: $35 / $25 / $15, available at macky.colorado.edu

_ www.arsnovasingers.com


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ARTIST SERIES Mission Statement

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.

DONORS CONCERT SPONSORS Colorado Public Radio Daily Camera Mark H. Carson and Associates, P.C. Emerson Process/MicroMotion Hotel Boulderado Hurdle’s Jewelry Friends of the Artist Series James and Associates, LLC KUNC KUVO Roser Visiting Artist Fund Western States Arts Federation

PARTNER IN THE ARTS Boulder Weekly Woodsongs Flowers in Bloom Liquor Mart Sage and Savory

BENEFACTOR

Gregory Silvus and Melanie Miller

SPONSOR

Anonymous Dick and Diane Dunn Daryl and Kay James Mary Lamy Louise Pearson and Grant Couch

PATRON

Mark and Margaret Carson Chris and Barbara Christoffersen Olivia Edwards Kahleen and Tony Flippo Suzanne and David Hoover Robert and Sandra McCalmon Corp sponsorship?????

SUPPORTER

Mark H. Carson

Roser Visiting Artist Fund

Thank you to the City and County of Broomfield and the 1st Bank Center for providing advertising space on their LED sign on US 36.

FRIENDS OF THE ARTIST SERIES

Scott Wiesner and Janet Ackermann Joan McLean Braun Michael and Carol Gallucci Doree and Jerry Hickman Susan and Jon Lounsbury Heidi and Jerry Lynch Jerry and Jamie Orten Mikhy and Michael Ritter Alicia and Juan Rodriguez Daniel and Boyce Sher Theodore and Ruth Smith Lawrence and Ann Brennan Thomas

CONTRIBUTOR

A Friend Gil and Nancy Berman Ellen and Dean Boal Norma Ekstrand and Tom Campbell Charles and Martha Everill Judy Gould Myra Jackson Kathryn Keller and William Wedum Gregory and Gladeane Lefferdink Harold and Joan Leinbach Jeff and Janet Martin Judy and Alan Megibow Sally Powell-Ashby amd John Ashby Elizabeth Rauch Luana and Paul Rubin Douglas Taylor Center Copy Boulder, Inc.

MEMBER David Beausang Geraldine Boone Chris and Margot Brauchli Otto and Ruth Buhler Shirley Carnahan Pauline and Noel Clark Paul Cohen Sandra and Lawrence Cohn Terry and Colleen Conant Sylvia and Burt Darmour Douglas and Rita Dart Kenneth and Sally Dell Germaine Eagleton Fran Evans Leslie and Merrill Glustrom Jo and David Hill Larry and Barbara Jones Isabel Lee Julia Lee Judah and Alice Levine Kay and Paul McCormick Robert and Marilyn Peltzer Kim and Richard Plumridge Randall Kenneth Rutsch Mary and Andrew Skumanich Courtland and Carolyn Spicer Zoe Stivers Ellen and Adam Tschida Vince and Caroline Wayland

ARTIST SERIES ADVISORY BOARD Gil Berman Rodolfo J. Betancourt Ellen T. Boal Joan McLean Braun John S. Davis Diane Dunn Michael A. Gallucci Lissy Garrson Laima G. Haley Daryl K. James, President Maryan K. Jaross Ruth C. Kahn Kathryn S. Keller Jerry C. M. Orten Louise Pearson Gregory L. Silvus Ellen Taxman Nicholas J. Vocatura

FOUNDATIONS AND MATCHING GIFTS Janet E. Ackermann and Scott R. Wiesner Charitable Fund Paul Bechtner Foundation Carson-Pfafflin Family Foundation A. G. Edwards & Sons, Inc. National Endowment for the Arts Newton Family Fund Western States Arts Federation Tour West Polk Family Charitable Fund George F. Reynolds Endowment Scripps Company Make all gifts payable to the University of Colorado Foundation and mail to ARTIST SERIES, CU College of Music, 301 UCB, Boulder, CO 80309-0301. For credit card payments, questions or additional information, please call the College of Music Development office at 303-735-6070.


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Take your seat.

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Please contact Art Director Annette Allen at 303.428.9529, Ext. 204, or email annette@pub-house.com


| www.cupresents.org

26 |

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

GRUSIN MUSIC HALL CHAIR PURCHASES

ENDOWMENT GIFTS

MEMBER

Takács Scholarship in Memory of Fay Shwayder Duncan Campbell Harry Campbell Margaret and Edward Campbell Norma Johnson Judith and Gary Judd Jonathan Zeschin, Essential Advisors

Jane Byers Lois Abbott Chair named In Memory of Charles (Chuck) Byers Neil and Marcia Geissinger Ashby Joyce Gellhorn Frances Dahlberg Maria and Jesse Aweida Anonymous Madeline Day Harold and Ingrid Becher Linda Boley Madeline Mahr Day Marda Buchholz Alice and William Bradley Patsy Lynch Wood Kevin and Diana Bunnell Ted Engelmann L. E. Gatterer Patricia Butler Arthur and Madeline Estin Larry Gatterer Shirley Carnahan Janice Harvey Charlene Gatterer Penny Chenery Jennifer Kamper Lloyd and Mary Gelman Noel and Pauline Clark Jane and Roger Larson Doree Hickman Richard Collins and Judith Reid Alice Levine Doree Hickman Helen Corbett Ruby Marr Jerry Hickman Charlotte Corbridge Judi Oser George Lichter Clara Deser Julie Phillips George Lichter Family Barbara and Carl Diehl Barbara Roach Alice and Judah Levine Carolyn and Don Etter Margie Warsavage In Memory of Jean and Bob Fischer Joyce Gellhorn Lloyd and Mary Gelaman Maxine Mark Steve Goldhaver and Mariana Vertenstein In Memory of Dianne and Kenneth Hacett Thomas R. Mark Richard and Catharine Harris Maxine Mark If you would like to name a seat Russell and Ann Hayes Kris McCusker in Grusin Music Hall, please call Bruce and Kyongguen Johnson In Memory of the College of Music Mireille Key Phyllis Sweetland Development Office at Alice and Judah Levine McCusker 303-735-6070. Albert and Virginia Lundell Lise Menn Heidi and Jerry Lynch Valorie Mooney Caroline Malde Valorie Mooney John and Nancy Malville William Mooney J. Richard and Marjorie McIntosh Mutsumi Moteki Josef and Sara Michl In Memory of Hugh and Sandra Moriarty Juanita Kirtley Sue and James Palmer Rebecca Roser Faith and Roy Pterson In Memory of Pearl and Antonia and Timothy Piwonka-Corle Mel Pedgrift Arthur and Ina Rifkin In Honor of Professor Joanna and Mark Rosenblum David Korevaar Ruth Shanberge Edith Stevens In Memory of Karen McMurray In Memory of Mary and Andrew Skumanich Richard C. McLean Todd and Gretchen Sliker Theory Department Gretje Sloan In Honor of Jan and Charles Squier Dean Daniel Sher Shirley and Mark Steele Travis Vardell Berkley Tague Kenneth A. Vardell Betty Lou Thacker Patricia Thompson Arthur and Laurie Travers Mary and Peter Van Etten Betty Van Zandt Christopher and Leanne Walther Rita and Lawrence Weiss Jim and Nurit Wolf Make all gifts payable to the University of Colorado Foundation and mail to Bill Woo

BENEFACTOR

Albert and Nancy Boggess Chris and Barbara Christoffersen Norma Johnson Gary and Judith Judd The Takács Quartet

SPONSOR Janet and David Robertson Marion Thurnauer and Alexander Trifunac

PATRON

Thomas and Carol Cech Catharine Hawkins Foundation Carol Lena Kovner Wilmington Trust

SUPPORTER

Anne Heinz and Ran Yaron Patricia and William Johnson Robert Kehoe Walter and Eileen Kintsch Ray and Margot LaPanse Newton Family Fund, Inc. Virginia Newton Neil and Martha Palmer Mikhy and Michael Ritter John and Carson Taylor Lawrence and Ann Brennan Thomas

CONTRIBUTOR Stanley and Virginia Boucher William and Alice Bradley Christopher and Margot Brauchli Pamela and Barry Gatz Harold and Joan Leinbach Paul and Nancy Levitt Patricia and Robert Lisensky Annyce Mayer Lise Menn Patricia Thompson Alice Dodge Wallace

TAKÁCS SOCIETY, CU College of Music, 301 UCB, Boulder, CO 80309-0301 For credit card payments, questions or additional information,please call the College of Music Development Office at 303-735-6070.


| 303-492-8008 | 27

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FOLLOW THE REGION’S PERFORMING ARTS BEFORE, DURING AND AFTER THE PERFORMANCE

Connect with Colorado’s Performing Arts Publications on Facebook, Twitter, Linkedin and YouTube.

Scan this code to learn more about Colorado’s Performing Arts Publications.

www.coloradoartspubs.com To learn about advertising in our arts publications, call Tod Cavey at 303-428-9529.

Get a jump on the performance The Center Stage Club offers performing arts enthusiasts the chance to get ahead of the upcoming performances. From CU Presents to the latest Broadway shows, Center Stage Club provides advance digital copies of magazines distributed at performing arts events.

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| www.cupresents.org

FRIENDS OF CU OPERA The CU Opera Program is recognized nationwide as one of the finest programs of its kind in the country. Its success is a reflection of outstanding faculty, exceptionally gifted students, professional production standards, and, ultimately, the successful placement of students after graduation in the professional world. You are invited to be a part of the tradition of excellence that has come to characterize CU Opera. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting CU Opera, please contact our development office at 303-735-6070.

CORPORATE, FOUNDATIONS, AND ENDOWMENT SUPPORT Corporate and Foundation Support Academy Retirement Community Aetna Foundation, Inc. Blackhawk Trust Boulder Valley Rotary Club Colorado Academy of Lifelong Learning Denver Lyric Opera Guild Frasca Food & Wine JAS Ventures Polk Family Charitable Fund Louis and Harold Price Foundation The Schramm Foundation The following have permanent endowments established in recognition of CU Opera, its donors and its students. Nancy and Ted Anderson Music Awards Daryl and Lauren Boyle Music Theater Scholarship Daryl and Lauren Boyle Voice Scholarship DeWitt and Billie Marie Brennan Memorial Music Scholarship Berton Coffin Graduate Scholarship in Voice Berton Coffin Fellowship Fund Viola Vestal Coulter Foundation Voice Scholarship in Honor of Harold A. Norblom Wilma and Perry Louis Cunningham Scholarship in Voice Barbara M. Doscher Scholarship Wallace F. Fiske Performance Awards Ann and Gordon Getty Foundation Dennis Jackson Opera Scholarship Dale R. Johnson Opera Scholarship Lacy CU Opera Endowment Ed and Kay McDowell Opera Endowment Claudia Boettcher Merthan Vocal Scholarship Trudi Mielziner Graduate Opera Scholarship Charlotte Orr Reid Memorial Vocal Scholarship Gregory Philip Ranno Excellence in Music Scholarship Anthony and Dorothy Riddle Lyric Theater Performance Prize William Earl Rose, Sr. Scholarship Fund Galen & Ada Belle Files Spencer Foundation Beth and Bill Suitts CU Opera Endowment Howard B. Waltz Music Scholarship Paula Marie and H. Rolan Zick Endowment

BENEFACTOR

CONTRIBUTOR

Bob Graham Louis and Harold Price Foundation Ann Oglesby and Denny Brown Galen & Ada Belle Spencer Foundation Academy Retirement Community The Schramm Foundation

A Friend Jason and Elizabeth Baldwin Colorado Academy of Lifelong Learning Jeanine Forman-Ham Lloyd and Mary Gelman Curtis and Mary Hill Myra Jackson Harold and Joan Leinbach Robert and Patricia Meyers David and Ann Phillips Daniel and Boyce Sher

SPONSOR Denver Lyric Opera Guild

PATRON Eleanor Caulkins Chris and Barbara Christoffersen Betsy and Albert Hand Robert and Mikee Kapelke Dorothy Riddle Christopher and Kimberly Riddle Riddle Family Foundation

SUPPORTER Mark and Margaret Carson Wlalter and Mary-Ruth Duncan James and Sally Kneser Theodore and Ruth Smith Lawrence and Ann Brennan Thomas Elizabeth and George Ulbrick

MEMBER Judith Auer and George Lawrence James and Judith Bowers Allene Cash Wallace and Beryl Clark Stephen Dilts J. Michael Dorsey Ellen and John Gille Steve Goldhaber and Mariana Vertenstein Judy Gould Janet Hanley Barbara and John Hill Pam Jones and Mark Bianchi Susan and Albin Kolwicz Marion and Frank Kreith C. Nicholas and Mollie Lee In Memory of Waye B. Daniels Patricia and Robert Lisensky Heidi and Jerry Lynch Bruce and Jeanette Mackenzie Janet and Scott Martin In Memory of Karen McMurry

Marian Matheson Byron and Catharine McCalmon Denise McCleary and Paul Von Behren Margaret Oakes Robert and Marilyn Peltzer Dennis Peterson Gail Promboin and Robert Burnham Alicia and Juan Rodriguez Elaine Schnabel Andrew and Mary Skumanich Joyce Thurmer In Memory of Karen McMurry Richard and Caroline Van Pelt

VOCAL ADVISORY BOARD Lawrence H. Anderson Stephen Bruns Nicholas R. Carthy Martha Coffin Evans, chair Lissy Garrison Leigh K. Holman Glenny LeGendre Kathleen M. Ness Ann Oglesby Shirley J. Riggs Stephanie Rudy Julie Ann Silver Reed F. Williams


| 303-492-8008 | 31

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| www.cupresents.org

CU OPERA

G

reat repertoire, lavish scenery, amazing voices, and outstanding value— these are the hallmarks of CU Opera. Director Leigh Holman and Music Director Nicholas Carthy bring you the best of classical and contemporary opera in three fascinating productions each season and in CU New Opera Workshop in the summer.

Hansel and Gretel (sung in English)

Side by Side by Sondheim (sung in English)

by Engelbert Humperdinck

by Stephen Sondheim

Humperdinck’s enchanting opera of the classic Grimm fairy tale follows two children into the forest, where they find a gingerbread house . . . and its hungry witch. March 14, 7:30 p.m. March 15, 7:30 p.m. March 16, 2 p.m. Macky Auditorium

CU New Opera Workshop

CU NOW will present the world premiere of The Master, an opera by composer Alberto Caruso with a libretto by noted More than a revue of the Irish author Colm Toibin from incomparable Broadway his acclaimed novel of the composer’s work, Side by Side same name. The production by Sondheim features his bestknown tunes alongside narration will be directed by Ron Daniels, associate director of the Royal exploring the context of each Shakespeare Theater in London piece. and will feature students from the CU College of Music. CU April 24, 7:30 p.m. New Opera Workshop is a April 25, 7:30 p.m. three-week event, held every April 26, 7:30 p.m. summer, giving advanced April 27, 2 p.m. student singers the opportunity Music Theatre to work with professional composers, playwrights and directors in creating new works for the musical stage.

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June 13, 7:30 p.m. June 14, 7:30 p.m. June 15, 2 p.m. ATLAS Black Box Theatre

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POLI-SCI DURING THE WEEK. SCI-FI ON THE WEEKEND. Explore a range of credit and non-credit courses that will challenge whatever you believe.


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1/17 Chick Corea & Béla Fleck 2/13 Venice Baroque Orchestra 2/24 TAO - Phoenix Rising 3/19 Fahrenheit 451 by Aquila Theatre 4/5 Eddie Palmieri Salsa Orchestra Plus CU Opera, Takács Quartet, and CU Symphony Orchestra

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2013–2014 Season

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