CU Presents Magazine Takács Winter 2014, Mar. 9-10

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

34

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.

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Every Every Journey Journey Begins Begins with with aa Single Single Step.

Step.

Every gift makes a big difference!

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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.

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EDWARD DUSINBERRE, violin KÁROLY SCHRANZ, violin GERALDINE WALTHER, viola ANDRÁS FEJÉR, cello PROGRAM Quartet No. 2 in A Minor Overture Recitative and Romance Waltz (attacca) Theme and Variations

Dmitri Shostakovich (1906-1975)

Five Movements for String Quartet, Opus 5 Heftig bewegt Sehr langsam Sehr lebhaft Sehr langsam In zarter Bewegung

Anton Webern (1883-1945)

Intermission String Quartet in E-flat Major, Opus 127 Ludwig van Beethoven I. Maestoso - Allegro (1770-1827) II. Adagio, ma non troppo e molto cantabile - Andante con moto III. Scherzando vivace IV. Finale. Allegro

T A K Á C S Q U A R T E T, M a r c h 9 & 1 0 , 2 0 1 4

THE TAKÁCS QUARTET

PROGRAM NOTES

T A K Á C S Q U A R T E T, M a r c h 9 & 1 0 , 2 0 1 4

Quartet No. 2 in A Minor There’s no denying the connection between Shostakovich’s music and the earth-shaking events that surrounded his troubled life. But there’s a danger in over-analyzing and drawing too many conclusions from the inescapable drama of his compositions. It’s true that many of his works written during World War II— particularly the symphonies—are clearly stated reflections of the horrors inflicted on his country as it battled the invading German army. When we turn to the remarkable Second String Quartet, however, it’s too easy to assign extra-musical descriptions to the music. It was composed over the course of three weeks in September 1944, as the Russian army seemed poised to achieve victory. And so, it’s no surprise that there is a sense of nearmadness in many of the quartet’s pages, along with long stretches of heart-breaking sadness, all suggesting a commentary on war’s insane brutality. But consider the observations of a friend of Shostakovich, who visited him during the war’s final stages at the Ivanovo Composers’ Retreat 160 miles outside Moscow. During much of the day, his friend reported, the composer would socialize, go for walks, play soccer and billiards—only now and then sneaking away to his quarters, where, apparently, he completed the quartet. Surely he was aware of the war’s impact on Russia, having served as a volunteer fireman during the devastating Siege of Leningrad. But now, far from the battles being waged and won, he found security and normalcy at Ivanovo. Thus, it’s unwise to read too much into the quartet, which followed the gutwrenching Second Piano Trio (both works were premiered together in November 1944). The brief, and relatively tame First Quartet, written six years earlier, had emerged after the careerthreatening public reprimand by Stalin. Next came this A-minor quartet, laid out on a grand scale, lasting nearly 35 minutes (more than twice the length of its predecessor). The Second is divided into four movements that collectively suggest an orchestral framework: an opening overture in sonata form (complete with a repeat of the opening exposition) is followed by a slow movement, a dance-like third movement and a concluding theme and variations. Standard

stuff, seemingly. Yet, there’s very little here that follows conventional form. This work signals Shostakovich’s desire to elevate the string quartet to a level of deep intensity, an approach that would be maintained through the succeeding 13 quartets. The mood here is consistently dark, even in the third movement’s waltz (played with mutes throughout), another example of Shostakovich’s characteristically sardonic thoughts on this popular oompah-pah dance. Here, the cello and violin carry the tune, which builds into a fevered whirling-about until the music loses steam and seems to disintegrate. The second movement is the most evocative and mysterious, beginning with a lengthy recitative for the first violin, accompanied by solemn, extended chords. Is this incantation meant as an expression of thoughts on the war and the misery it wrought? And what of the ever-increasing speed of the finale’s set of variations on a distinctly “Russian” theme, first sung by the viola—is this a depiction of his people’s resilience and resistance to the madness of a world embroiled in violence? And how should we interpret the quartet’s solemn, richly scored chorale-like ending? A triumphant hymn, perhaps? Shostakovich rarely offered answers or explanations, owing to his penchant for understatement and concealment—a habit adopted during those fearful days of crisis living in Stalin’s shadow. This evocative work is best left to the listener’s imagination.

Five Movements, Opus 5 For every action, Newton discovered long ago, there is a reaction. Consider this early chamber work of Webern to be an equal and opposite reaction to lateRomantic excess. The huge orchestras of Wagner and Mahler are here reduced to four voices that, at times, barely whisper. All those endless late-19thcentury soundscapes of symphonic yearning are now compacted into five musical miniatures that are barely one or two minutes in length. Written in the spring of 1909 and premiered the following year, Webern’s Opus 5 caused quite a stir at the Salzburg Festival in 1922, the year it was finally published. Considering all that was transpiring in those days of Schoenberg, Berg and the other modernists, this intense work still managed to startle its listeners, as it signaled the opening of a new era freed from all connection to traditional tonality and form. Notice that Webern did not call this a string quartet. He’d struggled with a title, realizing that, with no obvious link from one movement to the next, this could hardly be categorized as a string quartet.

String Quartet in E-flat Major, Opus 127 How decent of Beethoven to allow future musicologists the luxury of dividing his collected works into three neat, creative segments—not that he intended it, of course. Nonetheless, those earlymiddle-late periods can be separated quite nicely when it comes to the string quartets. The six of Opus 18 from 1800 stood alone until the middle quartets of Opus 59 arrived seven years later. The last of that group, Opus 95, was then followed by a gap of 12 years before the first of the magnificent late quartets, Opus 127, appeared in 1824. Those dozen years were not only devoid of string quartets, but also that stretch saw precious few major works of any kind.

Sure, the last great piano sonatas, Opus 90-111, were unveiled, as were the Missa Solemnis and the Seventh and Eighth symphonies. But consider that, from 1814-19, Beethoven completed only five truly important pieces (pairs of piano and cello sonatas, plus the song cycle An die ferne Geliebte). That period did see work on the Ninth Symphony, but it’s clear that various factors stunted the composer’s output: Lengthy and exhausting legal custody battles over his nephew Karl, the distractions of the congress of Vienna (for which Beethoven supplied several mediocre works) and a seeming loss of the fickle public’s interest in string quartets—replaced, perhaps,

by the light tunefulness of Rossini and Donizetti.

Thankfully, in 1822 a music-loving Russian prince named Nicholas Galitzin commissioned three string quartets, leading to the creation of Opus 127 and the flood of inspiration that gave the world those final late quartets—representing the last of Beethoven. Having completed the Ninth Symphony, he experienced a renewed passion for composition, commenting after finishing the Opus 131 quartet, “Thank God there is less lack (of invention) than before.” But how to explain the unprecedented spirituality that grew stronger with each of those final five quartets? No reason to think he was aware that his time was growing short— these were not intended as valedictory pieces. It is known that Beethoven developed an interest in the suddenly popular Hindu and Brahman philosophies (specifically the Rig-Veda). His later music certainly reflects a move away from the heroic aspects of those middle-period works and toward a new vision of inward awareness and wholeness. This shift can undoubtedly be connected in part to his nowcomplete deafness. In comparison to those final four transcendent quartets, Opus 127 emerges as a sweet and tender piece, instantly accessible, and showing none of the fist-shaking struggles depicted in music of the middle period. From the majestic (Maestoso) opening chords, heard at two more points in the first movement, we begin a wondrous journey that bristles with newfound energy, along with some unexpected moments of Beethoven’s peculiar wit. Notice, for example, the opening of the delightful scherzando: Four pizzicato chords seem to poke fun at the first movement’s grand chordal beginning before launching into a rhythmically unpredictable, perpetual-motion romp. The final allegro similarly projects a joyful demeanor and a delicious interplay of the four voices. Beethoven’s unfolding spiritual nature emerges in the second movement, a lengthy set of variations on a sublime melody. Even here, we observe the composer’s playful side, in a bouncy, syncopated variation that reminds one of a children’s game.

—Marc Shulgold

T A K Á C S Q U A R T E T, M a r c h 9 & 1 0 , 2 0 1 4

Naming it Five Pieces didn’t suffice either, since that implied no cohesiveness whatsoever. The seemingly simple act of choosing a title reveals the seriousness with which the 26-year-old composer approached this music, written in memory of his mother, who died in 1906. If you’re searching for some semblance of organization, there is a suggestion of good old sonata form in the opening movement (though it’s pointless to search for it on first hearing) and one can observe a classic symmetry among the movements: The outer two display a similar energy (their titles each imply motion), the inner two are each to be played “very slow,” while the “very animated” central movement serves as a pivot point—albeit one lasting around a half-minute. The printed score for Opus 5 is crowded with specific instructions on a nearly note-by-note basis, and is peppered with a full array of sonic effects (plucking and bouncing and sliding on the strings, playing by the bridge, etc.), making full use of the four instruments’ possibilities the way an artist might employ every tube in his paint box. Clearly pleased with this early effort, Webern recast this music for orchestra in 1929, recoloring the original by introducing new sonorities and fresh layers of sound.

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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2014 SEASON The Tempest The Merry Wives of Windsor

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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

| www.cupresents.org

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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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| 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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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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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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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

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2013–2014 Season

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