CU Presents Magazine Takács Quartet Winter 2016, Jan. 10-11, 2016 by The Publishing House

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Contents DIAVOLO........................................6 Calendar ........................................8 BODYTRAFFIC............................12 Rising Stars of the Metropoliton Opera......................14 Faculty Tuesdays ........................24 Artist Series donors .....................26 TakĂĄcs Quartet donors ...............30 Eklund Opera donors ..................32 Personnel lists .............................34

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DIAVOLO | Architecture in Motion® Equal parts Cirque du Soleil, brilliant choreography and “architecture in motion,” Diavolo turns death-defying dancers free in a display of kinetic drama. “We present the human body in relation to architectural structures on stage,” says Diavolo dancer and choreographer Leandro Damasco, Jr., who’s in his fourth season with the collaborative dance company. “What we offer is a form of dance between these two elements —a conversation, a relationship between movement and structure. It’s a unique characterization of the human spirit.” Damasco sees his role as a bridge between Artistic Director Jacques Heim’s vision and his fellow dancercollaborators. “In ‘Fluid Infinities,’ set to the music of Philip Glass’ Symphony No. 3, audiences see an abstract dome structure that sits on a reflection of itself,” he says of the work that premiered in 2013 at the Hollywood Bowl, Los Angeles. “The dome brings to mind a honeycomb, moon craters, or even a starship. “‘Fluid Infinities’ is the last installment of a trilogy, ‘L’Espace du Temps.’ In the first two installments, we worked with cubes—but in ‘Fluid Infinities,’ we explore

spherical elements of structure through continuous movement and metaphors of space and the unknown. As the trilogy ends, ‘Fluid Infinities’ looks at the struggle and promise of life beyond space and time.” Also on the program is “Transit Space,” which probes themes of feeling lost, and finding a sense of purpose. According to the Diavolo website, the work—inspired by the documentary “Dogtown and Z-Boys”—uses skateboard ramps as set pieces to represent an urban environment with ever-shifting physical and emotional spaces. “It’s very LA,” explains Damasco. “It represents the empty spaces in our lives—like skateboarders who go out at will, whenever and wherever they want. They don’t want to be confined, and they won’t be restricted. “The audience will see how liberating dance can be, and what it means to trust life itself if you let life happen.” Thursday, Jan. 21, 7:30 p.m. | tickets start at $15

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DIAVOLO

Thursday, Jan. 21, 2016, 7:30 p.m. Equal parts Cirque du Soleil, brilliant choreography and “architecture in motion,” Diavolo turns death-defying dancers free in a super-sized playground of wheels, bowls and walls in a unique display of kinetic drama.

BODYTRAFFIC

Sunday, Feb. 14, 2016, 7:30 p.m. Drop gritty, contemporary New York and European choreographers into the fastpaced, freeway world of Los Angeles, sprinkle with energetic young talent, and you get the “super-fast, super-sexy, super-expressive intensity” (Dance View Times) of BODYTRAFFIC.

Rising Stars of The Metropolitan Opera

Tuesday, March 1, 2016, 7:30 p.m. The Met has launched the careers of opera greats Renée Fleming, Thomas Hampson and many others. Don’t miss this chance to hear the brightest new stars performing arias, duets and ensembles by the world’s greatest composers.

Indigo Girls with the CU Symphony Orchestra

Thursday, March 31, 2016, 7:30 p.m. Amy Ray and Emily Saliers, the platinum-selling duo Indigo Girls, enrich a stellar quarter-century career with a symphonic performance of their moving, melodic music, including such hits as "Closer to Fine" and "Land of Canaan."

Pablo Ziegler and Lara St. John, Astor Piazzolla's Central Park Concert with the Pablo Ziegler Tango Quartetx

Friday, April 15, 2016, 7:30 p.m. Composer-pianist Ziegler and violinist St. John perform beloved tunes from tango maestro Astor Piazzolla’s famous 1987 Central Park concert and originals by Ziegler, who takes the tango to heights “undreamed of by Piazzolla.” (Chicago Tribune)

Dialogues of the Carmelites, Sung in English by Francis Poulenc March 11 and 13, 2016 Francis Poulenc’s dark, intense 1957 opera—based on the persecution of nuns at the convent at Campiegne during the French Revolution—fearlessly grapples with such timeless human emotions as fear, despair and faith. “As rich as a vintage port, the opera delivers a soft and melodic score that undulates with (dark) and complex themes … as tragically current as (they are) old.” (Metro Weekly)

The Tender Land, Sung in English

by Aaron Copland April 21 and 24, 2016 Copland was inspired to write his only full-length opera by the Depression-era photographs of Walker Evans and James Agee’s "Let Us Now Praise Famous Men." This classic tale of small-town America evokes everything from "The Grapes of Wrath" to "Our Town" and "Oklahoma!" “Copland in his Americana mode ... (A)n affecting, honest and musically elegant "work … bustling rhythmic intensity and pungent chromatic bite.” (The New York Times)

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The Takács Quartet

The Grammy Award-winning chamber quartet has been moving audiences and selling out concerts for three decades at CU-Boulder. Their irresistible blend of virtuosic technique and engaging personality has led The Guardian (London) to proclaim, “The Takács Quartet are matchless, their supreme artistry manifest at every level.”

Sunday, Jan. 10, 2016, 4 p.m. Monday, Jan. 11, 2016, 7:30 p.m. Monday, Feb. 29, 2016, 7:30 p.m. Sunday, April 24, 2016, 4 p.m. Monday, April 25, 2016, 7:30 p.m.

Return to the Forbidden Planet, March 4-13, 2016 by Bob Carlton. Directed by Cecilia Pang In a galaxy far away, a shadowy planet beckons our courageous team of travelers. “Shake, Rattle, and Roll" as Captain Tempest guides us through a cavalcade of golden era rock ’n roll hits. The Current, April 15-17, 2016 “The Current” showcases the varied works of CU dance faculty and guest artists, including Faye Driscoll, a Bessie Award-winning choreographer and director who investigates new forms of theatrical experience. Driscoll is the recipient of a 2013 Guggenheim Fellowship and a 2013 Creative Capital Performing Arts Award. Plus much more! http://www.colorado.edu/theatredance/events

Colorado Shakespeare Festival June 3-Aug. 7, 2016

The Colorado Shakespeare Festival is a professional theater company in association with the University of Colorado Boulder. Since 1958 the festival has celebrated and explored Shakespeare and his continuing influence and vitality through productions of superior artistic quality, education and community engagement.

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2016 Lineup: The Comedy of Errors June 3 - Aug. 7

Equivocation June 16 - Aug. 6

Troilus and Cressida June 24 - Aug. 6

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Henry VI, Part 2 July 31

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BODYTRAFFIC “We commission choreographers around the world to represent the vision of BODYTRAFFIC, which is to inspire people to live life to the fullest,” says Dora Quintanilla of the contemporary dance company founded in 2007 by Lillian Barbeito and Tina Finkelman Berkett. “We want to contribute to the world in a very positive way.” The company’s first performance in Boulder comprises three distinct works, including “And at midnight, the green bride floated through the village square”—a large ensemble piece by Barak Marshall featuring 10 dancers, five women and five men. “It’s inspired by true events that happened to Barak’s mother in Aden, Yemen, in her youth,” says company manager Quintanilla of the work that’s set to Jewish love songs and hymns from the Yiddish, Ladino and Yemenite traditions. “It’s a dance theater piece with lots of props and acting. It tells the story of a family of eight sisters and one brother who were the noisy neighbors of Barak’s mother.”

Rounding out the program is “Once again before you go” by Victor Quijada of the RUBBERBANDance Group. “In this piece created for BODYTRAFFIC in 2014, Victor brings together hip-hop, breakdance and ballet lines and extensions,” says Quintanilla. Indeed, Quijada’s work is known for “eloquently reimagining, deconstructing and applying choreographic principles to hip-hop ideology, and examining humanity through a unique fusion of aesthetics.” The program concludes with American choreographer Richard Siegal’s “O2Joy,” a playful piece set to the music of American jazz greats—from Billie Holiday and Harry Belafonte to Ella Fitzgerald. Siegal is founder and artistic director of The Bakery, an organization dedicated to international artistic collaborations. “As the title suggests, ‘O2Joy’ is an expression of joy through music and movement,” Quintanilla says. “It’s ballet-based, peppered with syncopated hip-hop and humor.” Sunday, Feb. 14, 7:30 p.m. | tickets start at $15

Per the company’s website, the long-titled work is further described as “a morality tale filled with dark humor that tells the story of how jealousy doomed all nine of the family’s children to a life filled with rage, unhappiness and loneliness.”

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Rising Stars of the Metropolitan Opera The Met has launched the careers of well-known opera greats like Renée Fleming, Deborah Voigt, Thomas Hampson and many other big-name artists. This is your chance to hear the brightest new stars performing arias, duets and ensembles by the world’s greatest composers.

Tuesday, March 1, 7:30 p.m. | tickets start at $15

Represented by Columbia Artists Management (CAMI), the Metropolitan Opera Rising Stars Concert Series offers fans across North America a rare opportunity to experience remarkable artists on the cusp of extraordinary careers. On March 1, five young performers—a soprano, mezzo-soprano, tenor and baritone accompanied by a pianist—will present a range of timeless arias and duets sung in French, Spanish, German and Italian, as well as familiar art songs and classic musical theater. “There’s something for everyone to enjoy and appreciate,” says Sarah Davis, a CAMI rep.

Creating connections. Honoring lives. Embracing possibilities.

According to Davis, for more than 125 years the Metropolitan Opera has been the artistic home of the greatest singers in the world, as well as the launchpad for opera stars of the future. “Some of today’s leading artists got their first big break by winning the company’s national auditions, as members of the young artist program, or by catching the attention of Met talent scouts,” she says. “Stephanie Blythe, Susan Graham and Mariusz Kwiecien are just a few more of the major artists to have come through the Met ranks.” Davis says some of the young artists who will perform in Boulder have had opportunities to perform together in the past, while others are coming together in recital for the very first time. “Another generation of young singers is waiting to be discovered.”

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Program String Quartet in D Major (1798-99) Allegro Andante con moto Allegro Presto

Ludwig van Beethoven (1770-1827)

Sonata for Violin and Piano (1914) Con moto Ballada. Allegretto Adagio

Leoś Janáček (1854-1928)

Intermission Piano Quintet in A minor (1918) Moderato—Allegro Adagio Andante—Allegro

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Edward Elgar (1857-1934)

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

Program Notes By Marc Shulgold

TAKÁCS QUARTET — Jan. 10-11, 2016

String Quartet in D, Op. 18, No. 3 When he arrived as a permanent resident of Vienna in 1792 (mere months after Mozart’s death), young Beethoven had a long way to go in becoming an earthshaking composer. He was welcomed immediately as a virtuoso pianist and a brilliant improviser—no small accomplishment in that keyboard-crazy town. But these attributes did not extend to writing music away from the piano, particularly the string quartet, which had been elevated to high art by Haydn and Mozart. No, approaching the standards set by his predecessors would require serious study and no small degree of labor. As a lad in Bonn, he’d studied violin and viola, playing in orchestras around town. Once in Vienna, he befriended a fine violinist named Ignaz Schuppanzigh, six years younger but already a formidable presence in the city, thanks to his talent and, um, girth. Their friendship would last through Beethoven’s life—and would change the course of music history. Schuppanzigh introduced the young composer to Vienna’s best musicians and, significantly, to future patrons Count Andreas Razumovsky and Prince Carl Lichnowsky. What’s more, the violinist is credited with forming the firstever “public” string quartet. Concerts previously given for the privileged few would now also be offered in small theaters for the paying public. The composer’s friendship with Vienna’s best proved a major influence in his string-writing. Schuppanzigh’s group gave premieres of many of the 16 quartets composed by Beethoven, including the first six, published as Opus 18 in 1801. No surprise that completing them was an arduous process, stretching over a period of two years, as the composer wrote,

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Ludwig van Beethoven revised, erased and, no doubt, discarded, while jumping from one to the other. He’d already finished some preperatory work, penning a handful of string trios. Though he completed the D Major quartet first, a publisher assigned it No. 3 of Opus 18. There is an inviting youthful freshness and clarity in Beethoven’s early writing for string quartet—a reminder that he was bubbling with ideas, but still learning the rules before he felt confident enough to break them. Consider the D Major quartet’s first movement and its easy-to-follow Sonata-Allegro form, a blueprint so beloved by Haydn and Mozart: An opening theme, introduced by a pair of whole notes (always recognizable with each reappearance), is followed by an unstable transition that leads to a suitably contrasting new tune; then comes the development section, which explores this material, ending with (once again) those two opening notes that gently return us to the beginning, now slightly altered. Similarly, the lovely Andante is built on a simple idea: a four-note phrase introduced by the second violin. Notice how the second fiddle remains in the alto range, while the first assumes the role of soprano. If you’ve got good ears, you may observe how the composer turns that four-note phrase upside down near the end—a conclusion, incidentally, that also offers an early Beethoven surprise, with its sudden, agitated ensemble chord passages. The remaining movements follow tradition: a gentle minuet (marked Allegro), featuring a Trio section in the minor, and a jolly finale that skips merrily along, now and then sounding like a Tarantella—ending not with a bang, but with a gentle smirk.

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Violin Sonata

Leoš Janáček horrors culminate in the torturous journey that is the final Adagio, its music punctuated by the violin’s brief, anguished interruptions—each followed by an even shorter, whispered echo. This repeated phrase will then serve to carry the Sonata into a quiet but powerful concluding silence. With the lovely Ballada having been completed six years earlier, Janáček finished the three remaining movements as war broke out. He returned to the Sonata for revisions during and after the conflict, finally submitting it for publication and a premiere in 1922. Each movement is built concisely, almost classically structured—yet the music retains a spontaneity and unpredictability in its sudden stops and starts and changes in mood. Amid these images of war sits the folk-like Ballada, its sweet melody crying out for words to be sung with a smile. As with his contemporaries Dvořák and Smetana, a love of nature and of the pastoral melodies of his homeland never seem far from view in Janáček’s music. “I do not play about with empty melodies,” he insisted. “I dip them in life and nature.”

Edward Elgar

Piano Quintet in A minor, Op. 84 Ah, the warm, inviting serenity of the countryside. Unless you’re talking about the woods bordering the Elgars’ cottage, Brinkwells, in the heart of Sussex, where Sir Edward and Lady Elgar had settled after leaving London in 1917. It was impossible to escape the ominous shadow of a nearby grouping of strange, gnarled trees, perhaps disfigured by a lightning strike. They presented “a ghastly sight in the evening,” according to the composer’s biographer, and would serve as an inspiration for Elgar’s Piano Quintet, begun in the summer of 1918 and premiered the following May. The composer had been intrigued by that forest grouping, particularly after he heard about the supposed origin of their twisted branches (more likely a tale invented by the composer’s friend and ghost story specialist Algernon Blackwood). The legend tells of a group of Spanish monks who had gathered there for “impious rites,” most likely black magic. But then a punitive lightning explosion ended this blasphemy, turning the ill-fated monks into those frightful trees. Never mind that no Spaniards – monks or otherwise—ever inhabited the woods. Lady Elgar described the quintet as a “reminiscence of sinister trees.” How accurate is such an assertion? We can certainly feel their presence in the spooky opening of the first movement. And a suggestion of those naughty monks appears in a Spanish-flavored dance

tune following that eerie beginning. But that’s pretty much it. The quintet was part of an unexpected mini-flood of chamber works that included the Violin Sonata (Op. 82) and String Quartet (Op. 83). Why this sudden interest in more intimate musical forms so late in life? We can only speculate—but it’s possible that Elgar felt he’d said all he had to say in his orchestral and choral compositions, which had long ago placed him on a high pedestal by critics and the public. The fact that no music of any significance followed those chamber pieces (along with the magnificent Cello Concerto, Op. 85) suggests that Elgar had grown a bit tired, settling into a mood of autumnal resignation and introspection, fueled perhaps by his depressed state in response to the war’s utter devastation. No such sadness appears in the celestial Adagio, as lovely and tranquil a piece as Elgar created. And there’s not much that is particularly “sinister” about the energetic finale (following a brief introduction), in which the unison strings emphatically deliver a joyous theme, ending with a triumphant coda. Well, it’s not entirely joyous. Though the major-key mood dominates the finale, we do encounter a reminder of the quintet’s earlier spookiness in a hushed, ghostlike episode that leads to a creepy little waltz. Darn those trees!

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To hear this powerful music is to become witness to the rumblings of war in eastern Europe, circa 1914. Most of the Sonata was written by Janáček in that year, though the plaintive, innocent Ballada dates back to 1908. Like many of his fellow Moravians, the composer hoped that the looming conflict would find the Russian army swooping in to defeat the Austro-Hungarian occupiers and liberate his homeland. (At war’s end, Moravia became part of central Czechoslovakia and is now situated in the eastern Czech Republic.) As he wrote the piece, Janáček said, “I could just about hear the sound of the steel clashing in my troubled head.” Though passionate about his beloved Moravia, he was also an ardent admirer of Russian culture, a fondness that emerges forcefully in the short, high-energy third movement. But then, elsewhere are traces of Czech, Hungarian and Romanian melodies and rhythms (the piano enters the Sonata with a hammered dulcimer imitation). What dominates this work, however, is the terror of war, introduced immediately by a short, slashing violin solo in the first movement. Those

TAKÁCS QUARTET — Jan. 10-11, 2016

The Takács Quartet Recognized as one of the world’s great ensembles, the Takács Quartet plays with a unique blend of drama, warmth and humor, combining four distinct musical personalities to bring fresh insights to the string quartet repertoire. The Takács became the first string quartet to win the Wigmore Hall Medal on May 10, 2014. The medal, inaugurated in 2007, recognizes major international artists who have a strong association with the hall. In 2012, Gramophone announced that the Takács was the only string quartet to be inducted into its first Hall of Fame. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London. Since 1988, the quartet has also made 16 recordings of works by Beethoven, Bartók, Borodin, Brahms, Chausson, Dvořák, Haydn, Mozart, Schubert and Smetana for the Decca label. The ensemble’s

Pianist Margaret McDonald, a native of Minnesota, is an Associate Professor of collaborative piano at the University of Colorado Boulder. She joined the College of Music keyboard faculty in the fall of 2004. She helped to develop the College’s graduate degree program in collaborative piano and the undergraduate collaborative curriculum. Praised for her poetic style and versatility, McDonald enjoys a very active performing career and has partnered with many distinguished artists including the Takács Quartet, Zuill Bailey, Paula Robison, Carol Wincenc, Ben Kamins, David Shifrin, William VerMeulen, David Jolley, Ian Bousfield, Steven Mead and Velvet Brown. McDonald received her Bachelor of Music

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recording of the six Bartók string quartets received the 1998 Gramophone Award for chamber music. The ensemble’s other Decca recordings include Dvořák’s String Quartet in E-flat Major, Op. 51 and Piano Quintet in A Major, Op. 81 with pianist Andreas Haefliger; Schubert’s Quartet in G Major and Notturno Piano Trio with Mr. Haefliger; the three Brahms string quartets and Piano Quintet in F minor with pianist András Schiff; and Mozart’s String Quintets, K. 515 and 516 with Gyorgy Pauk, viola. The members of the Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder, where the quartet has helped to develop a string program with a special emphasis on chamber music. The quartet’s commitment to teaching is enhanced by summer residencies at the Aspen Music Festival and at the Music Academy of the West, Santa Barbara. They are also Visiting Fellows at the Guildhall School of Music and Drama, London. takacsquartet.com

and Master of Music degrees in piano performance from the University of Minnesota and a Doctor of Musical Arts degree in collaborative piano from the University of California, Santa Barbara. Her principal teachers include Lydia Artymiw and Anne Epperson. McDonald has been a staff accompanist at the Meadowmount School for Strings in New York and an official accompanist at the Music Teachers National Association competition and the National Flute Association annual convention. McDonald spends her summers as a member of the collaborative piano faculty at the Music Academy of the West in Santa Barbara, California.

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presents

Gilbert and Sullivan’s classic operetta

Pirates of Penzance with live orchestra and “Pirates for Kids” featuring a pirate costume contest!

Rialto Theatre , 228 E 4th St , Loveland Contact the Rialto Theater for tickets: http://rialtoloveland.ticketforce.com or 970-962-2120 For information: www.lovelandopera.org or 970-593-0085

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colorado.edu/music/facultytuesday

Faculty Tuesday recitals are held throughout the academic year at 7:30 p.m. in Grusin Music Hall of the Imig Music Building on the CU-Boulder campus. Performances are free and open to the public.

Spring Faculty Tuesday Preview

Jan. 12

Mutsumi Moteki, piano and Tamara Goldstein, piano

Jan. 19

Erika Eckert, viola; Margaret McDonald, piano; Abigail Nims, mezzo-soprano

Jan. 26

David Korevaar, piano

Feb. 2

Doug Walter, marimba and vibraphone

Feb. 16

Voice Faculty

Feb. 23

Andrew Cooperstock, piano

March 8

Mike Barnett works performed by David Korevaar, piano and Chas Wetherbee, violin

March 15

Alexandra Nguyen, piano and friends

March 29

Abigail Nims, mezzo-soprano; Alexandra Nguyen, piano; Bob Spillman, piano

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Locally Owned

Artist Series

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 worldclass 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.

Artist Series Advisory Board Gil Berman Rudy Betancourt Joan McLean Braun John Davis Diane Dunn Mike Gallucci Lissy Garrison Laima Haley Daryl James, President Maryan K. Jaross Ruth Kahn Jerry Orten Louise Pearson Erika Randall Robert Shay Gregory Silvus Ellen Taxman Nicholas Vocatura

Benefactor

Paul Bechtner Foundation Greg Silvus and Melanie Miller Ellen and Joshua Taxman

Sponsor

Diane and Richard Dunn Daryl and Kay James Mary Lamy

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Mary Anne Scott Dean and Ellen Boal Prudence Carter Norma Ekstrand and Tom Campbell Gregory and Gladeane Lefferdink

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Takács Society

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

Benefactor

Albert and Nancy Boggess Lyle Bourne and Rita Yaroush Sam Ersan Norma Johnson in memory of Fay Shwayder Gary and Judith Judd in memory of Fay Shwayder The Takács Quartet

Sponsor

Pamela Decker and Beth Saperstein Carol Lena Kovner David and Janet Robertson Marion Thurnauer and Alexander Trifunac

Patron

Thomas and Carol Cech Chris and Barbara Christoffersen Anne Heinz and Ran Yaron Ray and Margot LaPanse Kathleen Sullivan John and Carson Taylor

Supporter

Patricia Butler Robert R. Kehoe Walter and Eileen Kintsch Virginia M. Newton Newton Family Fund, Inc. Neil and Martha Palmer Mikhy and Michael Ritter David and Susan Seitz Lawrence and Ann Thomas James and Lena Wockenfuss

Contributor

Virginia and Stanley Boucher William and Alice Bradley Kevin and Diana Bunnell Marda Buchholz Bob and Lennie Damrauer Carolyn and Don Etter Steve Goldhaber and Mariana Vertenstein Harold and Joan Leinbach Paul and Nancy Levitt Patricia and Robert Lisensky Anthony and Randi Stroh Berkley Tague Patricia Thompson

Member

Anonymous Lois Abbott Christine Arden and David Newman Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Christopher and Margot Brauchli Shirley Carnahan Penny Chenery Noel A. and Pauline A. Clark Helen Dorsey Corbett Charlotte Corbridge Richard and JoAnn Crandall Barbara and Carl Diehl Carolyn and Don Etter Bob and Jean Fischer Lloyd and Mary Gelman Ken and Dianne Hackett Richard and Catharine Harris

Doree and Jerry Hickman Ruth and Richard Irvin Richard Jessor and Jane Menken Bruce and Kyongguen Johnson Patricia L. Johnson Jennifer and Bob Kamper Mireille Key Marion and Frank Kreith Alice and Judah Levine Albert and Virginia Lundell Heidi and Jerry Lynch Kamilla Macar John and Nancy Malville Ralph and Nancy Mann Maxine Mark J. Richard and Marjorie McIntosh Peter and Doris McManamon Christopher Mueller and Martha Whittaker Joan and Ronald Nordgren Alison and Graham Oddie Antonia and Timothy Piwonka-Corle Richard Replin and Elissa Stein Mark and Joanna Rosenblum Ruth Shanberge in memory of Carol Seideman Todd and Gretchen Sliker Grietje Sloan Carol and Art Smoot Helen Stone Arthur and Laurie Travers Mary and Peter Van Etten Betty Van Zandt Thomas VanZandt and Natalie Hedberg James and Nurit Wolf Bill Wood

If you would like to name a seat in Grusin Music Hall, please call the College of Music Development Office at 303-735-6070. Make all gifts payable to the University of Colorado Foundation and mail to: Takács Society CU College of Music, 301 UCB Boulder, CO 80309-0301 For credit card payments, questions or additional information, please call the College of Music Development Office at 303-735-6070.

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Shostakovich: Dedication January 22 and 23 - An evening in dedication to victims of fascism and war. Shostakovich composed from behind the Iron Curtain in an atmosphere of repression. Pavel Haas was a leading composer who was sent by the Nazis to Auschwitz. Rising composer D.J. Sparr has composed a piece that honors Bach’s Third Brandenburg Concerto.

Mozart Requiem with St. Martin’s Chamber Choir

Real world learning for grades 6-12 in the heart of Boulder NOW ACCEPTING APPLICATIONS

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April 8 and 9 - Mozart’s sublime Requiem was completed by his student, Franz Xaver Süssmayr, and re-visited by later musicians and scholars. For all the problems of completion, Mozart’s exquisite expression shines through. Also on the program is Mozart’s beautiful Ave Verum Corpus. Friday concerts in Denver and Saturday concerts in Boulder. Pre-concert talks at 6:30 pm and concerts at 7:30 pm.

For tickets and information, visit ProMusicaColorado.org

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Friends of the Eklund Opera

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

Benefactor

Contributor

Anonymous David Allen and Carol DeBaca Boulder Rotary Club Paul Eklund Ann Oglesby Alan and Martha Stormo The Academy Charitable Foundation, Inc.

Jim and Judith Bowers Robert and Lenore Damrauer Stephen Dilts Maryann Dimand and Sheeyun Park Martha Coffin Evans and Robert Trembly Harold and Joan Leinbach Janet and Scott Martin Denise McCleary and Paul Von Behren Dave and Ann Phillips Richard and Caroline Van Pelt Peter Wall Michael and Linda Weatherwax in memory of Allene Cash

Patron

Chris and Barbara Christoffersen Lloyd and Mary Gelman Albert and Betsy Hand Bob and Mikee Kapelke Antoinette and Douglas Shaller

Grants

Denver Lyric Opera Guild Galen & Ada Belle Spencer Foundation Louis and Harold Price Foundation Roser Visiting Artist Endowment The Schramm Foundation

Supporter

Anonymous Mark and Margaret Carson Carson-Pfafflin Family Foundation Walter Duncan Marty Coffin Evans and Robert Trembly Mikhy and Mike Ritter Theodore and Ruth Smith Lawrence and Ann Thomas Ken and Ruth Wright in memory of Mayme Lacy Wright Family Foundation

Member

Shannon Bee in memory of Allene Cash Sara-Jane and Bill Cohen Catherine Compton in honor of Tom Robbins Eleanor DePuy Donald and Beverly Eklund Joseph and Beverly Elinoff Ellen and John Gille Janet Hanley David and Janet Hummer Frank and Marion Kreith Melinda Leach and David Ball Kenneth L. Levinson and Shauna Titus Levinson Patricia and Robert Lisensky Heidi and Jerry Lynch Bruce Mackenzie Marian Matheson Byron and Cathy McCalmon Corinne McKay and Daniel Urist Richard and Donna Meckley Kathleen and John Ness Robert and Marilyn Peltzer Kim and Rich Plumridge Gail Promboin and Robert Burnham Byron and Sylvia Riley Juan and Alicia Rodriguez Ruth Schoening Ruth Shanberge Carol and Randall Shinn Carol and Art Smoot Helen Stone Walter Taylor James and Nurit Wolf

About the Eklund Opera Program

From left: Paul Eklund Leigh Holman, Director of Opera Robert Shay, College of Music Dean

Recognizing the importance of the arts and live vocal performance in an increasingly distracted world, longtime Boulder resident Paul Eklund made a generous gift in October 2014 to help establish a $2 million endowment at the CU-Boulder College of Music. Funding from the endowment helps support three opera productions each academic year, the CU New Opera Workshop and an opera-scenes program for new students.

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Personnel Staff

Joan McLean Braun, Executive Director Laima Haley, Marketing and P.R. Director Sabine Kortals, Interim Director of Communications Daniel Leonard, Marketing Manager Jessie Bauters, Assistant Director of Communications and Web Administrator Mel Plett, Publications Manager Zachary Barger, Publications Assistant P.R. Assistants: Abbey Engrav, Helen Slivinski, Colin Wichman, Jackson Xia Nick Vocatura, Operations Director Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Manager Box Office Assistants: Ciara Glasheen-Artem, Elise Campbell, Starla Doyal, Adrienne Havelka, Chris Ruiz, Melanie Shaffer Kevin Harbison, Recording Engineer Nancy Quintanilla, Financial Manager Ted Mulcahey, Piano Technician

Macky Auditorium Staff

Rudy Betancourt, Director John Jungerberg, Operations Manager Sara Krumwiede, Assistant Director JP Osnes, Technical Director Rhett Snyder, Assistant Technical Director Rojana Savoye, House Manager Nicole Anderson, Assistant House Manager

College of Music Cabinet

Robert Shay, Dean James Austin, Associate Dean for U.G. Studies James Brody, Interim Dean for U.G. Studies Steven Bruns, Associate Dean for Grad. Studies John Davis, Associate Dean for Administration Joan McLean Braun, Assistant Dean for Concerts and Strategic Communications Lissy Garrison, Assistant Dean for Advancement Alexander George, Executive Assistant to the Dean

College of Music Advisory Board Robert Shay, Dean Chris Brauchli Bob Bunting Jan Burton Paul Eklund Bill Elliott Martha Coffin Evans Jonathan Fox David Fulker Grace Gamm Lloyd Gelman Doree Hickman

Honorary Directors:

Dean Boal, Bob Charles, Eileen Cline, Donna Erismann and Dave Grusin

Program Editor: Sabine Kortals Program Design/Layout: Mel Plett

Patron Info Accessibility and Parking

Macky Auditorium is fully wheelchair accessible; ADA-accessible parking is available nearby. Please call the Box Office as early as possible to make arrangements. Paid parking is available in the Euclid Avenue auto-park, Lot 310 and Lot 204. Contact the Box Office, or check the CU Presents website for more information.

David Hummer Daryl James Caryl Kassoy Robert Korenblat Erma Mantey Joe Negler Susan Olenwine Mikhy Ritter, co-chair Becky Roser, co-chair Mark Tezak Jeanne Thompson Jack Walker

CU Presents Box Office cupresents.org 303-492-8008

Photography and video recordings Ticket Sales are final; no refunds. of any type are strictly prohibited during the performance.

Food

is permitted in the seating areas of Macky Auditorium, but is prohibited in other campus venues unless otherwise noted.

Smoking is not permitted anywhere. CU-Boulder is a smoke-free campus!

Exchanges are subject to availability and must be made at least one business day prior to the day of performance. Subscribers may exchange tickets for free. Single ticket exchanges are subject to a $3 exchange fee. Upgrade fees may apply in all cases. Please return your tickets to the Box Office prior to the performance if you are unable to use them.

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