CU Presents Magazine Opera Fall 2014, Oct. 24-26

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

2014–2015 Season

Be engaged. Be inspired. Be here.

20142015SEASON

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• The Nutcracker with full orchestra

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From the Executive Director Contents

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Dear Friends,

The beginning of autumn and the academic year is an exciting time for the performing arts at CU, with a whole year of scintillating performances lined up before us.

This fall’s events range from the sublime silliness of Gilbert and Sullivan’s The Pirates of Penzance to Beyond Zero: 1914-1918, a deeply moving, multi-media commemoration of World War I performed by the Kronos Quartet, and a high-energy evening in the African American dance tradition of stepping from Step Afrika! And as always, the talented faculty and students of the College of Music will bring you an eclectic lineup of performances.

This fall, I’m also privileged to introduce to you the new dean of the college, Robert Shay, who succeeds Daniel Sher. Rob comes to CU from the University of Missouri School of Music and has held leadership positions at such prestigious institutions as the Longy School of Music and Duke University.

We’re also making some changes to our printed programs that we hope you will find engaging and entertaining. Look for featurettes and interviews with our artists, tips and tidbits from faculty experts, photo collages and more. And we’d love to hear your ideas for stories and features; you can email Clay Evans, director of communications, at [email protected].

I look forward to seeing old friends and meeting new ones this fall at CU Presents performances and hearing your ideas. And feel free to email me any time at [email protected].

Thank you so much for your continuing support of the performing arts at CU-Boulder. We truly couldn’t do it without you.

Warm regards,

Joan McLean BraunExecutive DirectorCU Presents

40 years of Mummenschanz ........ 6

Calendar ....................................... 8

Why ‘the Great War’? ................. 12

Faculty Tuesdays ........................ 20

Artist Series Donors ................... 22

Takács Donors ............................ 24

CU Opera Donors ....................... 28

Tips for the opera newbie ........... 29

Personnel ................................... 30

This program is produced for CU Presents

by The Publishing House, Westminster, CO.

Angie Flachman Johnson, PublisherAnnette Allen, Art Director &

Production CoordinatorStacey Krull, Graphic Design & Layout

Wilbur E. Flachman, President

Clay Evans, CU Presents Editor

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Mummenschanz: 40 years of ‘oohs’ and ‘aahs’Mummenschanz’ back-to-basics puppetry on a blank, black stage offers simple charm and humor for audience of all ages. The visual-theater troupe has performed around the world and brings its 40th-anniversary program to Macky Auditorium on Nov. 7.

Floriana Frassetto, the enthusiastic Italian-American artist who cofounded the Swiss company, answers a few questions about the company’s long success:

Can you tell us a bit of history about Mummenschanz? It was founded in 1972 in Switzerland and we had our first major success at the Avignon Festival in France. We then went to Germany and the United States. … Anna Kisselgoff (of The New York Times) gave us a rave. We never thought we’d be as successful as we still currently are.

What can you tell us about the 40th-anniversary show? This addition conveys 40 years of creation. The first 35 minutes represent what we did in the ‘70s, with the clay mask and slinky balloons. The second section represents the ‘80s to the year 2000. This section is more abstract, more sculptural. The next section starts at the year 2000 and it includes some marionette-like work. There are oohs and aahs and laughter and applause — people are surprised when the thin little (puppet) talks to you and expresses an emotion. The current show features 30 of the best sketches we’ve made.

How do you deal with the balance of being both a creator and performer? How do you balance a marriage? You love it, you fight it, it’s constant. I’m dedicated to my work completely and I love it. I wake up at night and dream how we can improve and change something. I think now we have a very nice mix — people find it funny and playful.

Mummenschanz audiences cover a wide demographic. It speaks to all ages. We recommend it for six year olds and up. It’s not so common for people to see a show that works for both children and adults, which is why ours is special.

— Sarah Moore, TheaterMania.com

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2014-15 Calendar

The Artist Series presents the world’s finest performers in classical music, jazz, theater, dance and world music in majestic Macky Auditorium.

For detailed information and tickets, go to cupresents.org.

STEP AFRIKA!Friday, Sept. 19, 2014, 7:30 p.m.Stepping is a percussive art form that relies on kicking, stomping, clapping and chanting, making for an energetic, dynamic performance, a delight for eyes and ears alike. Step Afrika! is the world’s first professional dance company devoted to this unique art form, a joyous celebration of the African American experience that originated at traditionally black colleges in the early 20th century and traces its roots to traditional African dance. The company will host a free public workshop in stepping from 10 to 11:30 a.m. Friday, Sept. 19 in the Charlotte York Irey Theatre in the University Theatre Building at CU-Boulder.Sponsored by Caplan & Earnest and supported by a grant from the Western States Arts Federation.

KRONOS QUARTETBeyond Zero: 1914–1918Wednesday, Oct. 8, 2014, 7:30 p.m.Join the world-renowned Kronos Quartet for a program that includes a commemoration on the centennial of the outbreak of “the war to end all wars.” Beyond Zero: 1914-1918, by Serbian composer Aleksandra Vrebelov musically explores the brutality that set off a century of bloody warfare and features projections of seldom-seen film from World War I. The first half of the program features music by Nicole Lizée, Yuri Boguinia and others.Supported by a grant from the Roser Visiting Artist Fund.

MUMMENSCHANZFriday, Nov. 7, 2014, 7:30 p.m.Silence, illusion, light and shadow. Masks and props made from everyday objects. Mind and body, sleight of hand. For more than four decades, the surreal Swiss theater troupe has brought myth, mystery and plenty of laughter to audiences around the world, using its unique universal language to explore the human condition.

CHRISTMAS WITH THE KING’S SINGERSThursday, Dec. 11, 2014, 7:30 p.m.The Grammy Award-winning British male sextet arrives on the cusp of winter to perform an enchanting Christmas concert. With their unique melodic arrangements, impeccable vocal blend and trademark playfulness, the ensemble brings both wit and warmth to seasonal music, both traditional and contemporary.Sponsored by Hurdle’s Jewelers.

BILL T. JONES AND ARNIE ZANE DANCE COMPANYPlay and PlayThursday, Jan. 22, 2015, 7:30 p.m.Choreographed to some of the world’s best-loved and most seminal works of classical music—Mozart, Ravel, Schubert—and performed with live musicians, Bill T. Jones’ astonishingly original, muscular work, Play and Play, is dance like you’ve never seen it before. Winner of two Tony Awards and recipient of a MacArthur “genius” grant, Jones has continually expanded the possibilities of dance.Sponsored by James & Associates.

MEDESKI, MARTIN AND WOOD WITH ALARM WILL SOUNDFriday, Feb. 6, 2015, 7:30 p.m.Get ready for incomparable originality, a little jamming and a lot of fun when the hip, cutting-edge chamber music of Alarm Will Sound melds with the eclectic avant-jazz-funk sound of Medeski, Martin and Wood. The groove-oriented trio, a hit on the jam-band circuit pioneered by the Grateful Dead, and the versatile new-music ensemble will take you on an evening of daring collaboration and thrilling improvisation.

THE ASSAD BROTHERS WITH ROMERO LUBAMBOThursday, Feb. 19, 2015, 7:30 p.m.Exotic Latin flair takes the stage when the Assad Brothers, Brazil’s most celebrated classical guitarists, join with jazz guitar virtuoso Romero Lubambo for Samba Exótico, an exploration of Samba and Choros, a popular 19th-century genre that blossomed in Rio de Janeiro. With its roots in Africa and unique fermentation in the coastal city of Bahia, Samba vibrates with the essence of Brazil.Sponsored by Shaw Construction and partnered by H.B. Woodsong’s.

NATALIE MERCHANT WITH THE CU SYMPHONY ORCHESTRAThursday, April 2, 2015, 7:30 p.m.Over her stellar 30-year career, Natalie

Merchant has been the driving force behind alt-pop sensation 10,000 Maniacs and embarked on a multi-platinum solo career, always delving deep into the human condition with her lyrical storytelling. Now she brings that same searching literary

sensibility and her distinctive vocal style to new heights in a performance of her music, old and new, arranged for orchestra.Sponsored by Hurdle’s Jewelers.

KRONOS QUARTET

THE KING’S SINGERS

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The Grammy Award-winning quartet—Edward Dusinberre, violin; Károly Schranz, violin; Geraldine Walther, viola; and András Fejer, cello—has been selling out concerts for three decades at CU-Boulder with an irresistible

blend of viruosic technique and engaging personalities. Each season includes a concert by a special invited guest ensemble. All Takács performances take place in Grusin Music Hall. Takacsquartet.com

TAKÁCS QUARTETSunday, Sept. 21, 2014, 4 p.m.Monday, Sept. 22, 2014, 7:30 p.m.Program: Mozart’s String Quintet in G minor, K. 516Beethoven’s Quartet in B-flat major, Op. 130

SPECIAL GUEST THE CAVANI STRING QUARTETSunday, Oct. 19, 2014, 4 p.m.Monday, Oct. 20, 2014, 7:30 p.m.Grusin Music HallThe world-famous, all-women Cavani Quartet, named after the 19th-century Italian violin makers Giovanni and Vincenzo Cavani, celebrates its 25th anniversary this year. The Cleveland Plain Dealer says, “Together, these players make music with passionate conviction, as if their lives depended on interaction.” cavani.org

TAKÁCS QUARTETSunday, Nov. 2, 2014, 4 p.m.Monday, Nov. 3, 2014, 7:30 p.m.Program:Mozart’s String Quartet in C major, K. 465Debussy’s String Quartet in G minor, Op. 10Beethoven’s String Quartet No. 2 in E minor, Op. 59

TAKÁCS QUARTETSunday, Jan. 25, 2015, 4 p.m.Monday, Jan. 26, 2015, 7:30 p.m.Program TBA

TAKÁCS QUARTETSunday, March 8, 2015, 4 p.m.Monday, March 9, 2015, 7:30 p.m.Program TBA

TAKÁCS QUARTETSunday, April 26, 2015, 4 p.m.Monday, April 27, 2015, 7:30 p.m.Program TBA

Wide-ranging repertoire, lavish scenery, drama and amazing voices—CU Opera has it all. Director Leigh Holman and Music Director Nicholas Carthy showcase the talent of the future in three

productions each season. Go to cupresents.org for detailed ticket information and times.

THE PIRATES OF PENZANCEBy Gilbert and SullivanOct. 24-26, Macky AuditoriumGilbert and Sullivan’s beloved comic operetta tells of the coming of age of Frederic, indentured to pirates as a boy, and his desire to leave the buccaneer’s life and marry beautiful Mabel. But first, he must find a way to defeat the swashbucklers he’s known and loved all his life.

COSÌ FAN TUTTEBy Wolfgang Amadeus MozartMarch 13-15, Macky AuditoriumMozart’s witty opera buffa follows 24 hours in the lives of two beautiful sisters whose scandalous infidelities make for a comic romp that was considered too hot for audiences even in the early 20th century. Featuring some of the composer’s most sumptuous arias, duets, and ensemble pieces make for a decadent and enchanting evening of opera. Sung in Italian with English surtitles.

L’INCORONAZIONE DI POPPEA(THE CORONATION OF POPPEA)By Claudio MonteverdiApril 23-26 Music Theatre, Imig Music BuildingMonteverdi’s drama about sex, crime and realpolitik during the debauched reign of the Roman Emperor Nero, turns conventional morality on its head—virtue is punished and greed rewarded. The sensual duet between Nero and his lover Poppea is the pièce de résistance. Sung in Italian with English surtitles. This production will be styled after the hit Netflix realpolitik series House of Cards, starring Kevin Spacey.

HOLIDAY FESTIVALDec. 5-7, Macky Auditorium(see cupresents.org for detailed ticket information and times)A lively program of seasonal music and festive holiday decorations in Macky Auditorium inspire sold-out audiences and make the Holiday Festival a beloved annual tradition. Choirs, orchestra, ensembles and faculty soloists from the CU-Boulder College of Music invite you to share the joy and warmth of the season with your family and friends.

SPRING SWINGApril 12, 2 p.m., Macky AuditoriumJoin the CU Concert Jazz Ensemble and guest artists for a swinging return to the Big Band era. The program will feature music from the ensemble’s new recording, a tribute to the greatest bands and composers of the era, including Benny Goodman, Glenn Miller, Duke Ellington, Count Basie and more.


Congratulationsto the University of Colorado College of Music, whose efforts have brought entertainment, learning, melody,

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Tomorrow’s talent is onstage today with a wide variety of performances from CU students and faculty. For detailed ticket and event information go to www.colorado.edu/theatredance.

OUR TOWN BY THORNTON WILDERDirected by Lindsay Weitkamp and Wesley LongacreSept. 26-Oct. 5, University TheatreWilder’s beloved, Pulitzer Prize-winning classic depicts life, love and death in the small American town of Grover’s Corners. The community’s hopes and dreams expand into questions about meaning and purpose: How does one “realize life”? How do we take advantage of the time that we have?

A BROADWAY CHRISTMAS CAROLBy Kathy Feininger, Directed by Nathan StithDec. 4-21, University TheatreIf Charles Dickens had huddled with Rodgers and Hammerstein, Andrew Lloyd Webber, and Matt Stone and Trey Parker to write a holiday show, they just might have come up with A Broadway Christmas Carol. Simultaneously irreverent and respectful, the play offers a fresh, hilarious and charmingly recognizable retelling

of Dickens’ classic holiday ghost story, complete with new lyrics to famous Broadway show tunes.

TARTUFFE BY MOLIÈRETranslated by Christopher HamptonDirected by Lynn NicholsFeb. 13-22, University TheatreFrench playwright Molière’s comic masterpiece skewers religious hypocrisy, mindless piety and sexual deceit was so daring at the time of its writing that audience members could be excommunicated for seeing it. Tartuffe tells how a “man of the cloth” worms his way into the gullible heart of Orgon, a rich family man, and tries to take him for all he has.

JESUS CHRIST SUPERSTARLyrics by Tim Rice, music by Andrew Lloyd Webber, Directed by Cecilia PangApril 10-19, University TheatreEver since the controversial rock opera by Andrew Lloyd Webber and Tim Rice was released as a concept album in 1970, it has

enflamed the passions of critics and fans alike. The story of Jesus of Nazareth during his final days, this high-energy, immensely popular show plunges deep into the hearts of the men and women, from Judas Iscariot to Mary Magdalene to Pontius Pilate, who played a part in one of the most momentous stories ever told.

THE CURRENTApril 17-19Charlotte York Irey TheatreA showcase of vital new works by CU dance faculty and Millicent Johnnie, the 2014-15 Roser Guest Artist in Dance. Johnnie has performed with Urban Bush Women, Cleo Parker Robinson Dance Ensemble and Hubbard Street Dance Chicago. She has choreographed for Grammy Award-winning artists Usher Raymond, Chrisette Michele and Los Hombres Calientes.

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What was so ‘great’ about the Great War?This year marks the centennial of the beginning of World War I. On Oct. 8, the Kronos Quartet will perform “Beyond Zero: 1914-1918,” a multi-media work with music by composer Aleksandra Vrebelov and a film by Bill Morrison, based on long-lost archival film footage from the war.

We asked Martha Hanna, professor of history and World War I expert at CU-Boulder, how that brutal, bloody conflict came to be known as the “Great War.”

“It was the ‘Great War’ to those who lived through it—or died in it—because of its catastrophic effects, felt at the time and reverberating to this day,” she says, offering the following examples:

Soldiers. Millions of men, from almost every continent on earth, fought in the Great War: 13 million Germans, 8 million Frenchmen, 5 million Britons, 2 million Americans. Estimates vary, but it is possible that as many as 10 million men died, and twice that many were wounded, some with disabling wounds—physical and psychological—which haunted them for the rest of their lives.

Civilians. Civilians also felt the grim effects of war, in ways that would become characteristic of warfare in the 20th and 21st centuries. More than one million Armenian civilians were

victims of genocide in 1915-16. On a much smaller scale, air raids—a new phenomenon in 1914 but a commonplace of modern warfare—targeted and killed civilians in London and Paris.

Political upheaval. Four empires—Germany, Austria-Hungary, Russia and the Ottoman Empire—collapsed as a direct consequence of their participation in the war. By making possible the Bolshevik seizure of power in 1917, the Russian Revolutions of that year laid the foundations for the Cold War. The collapse of the Ottoman Empire created political instability and the roots of the Middle East crises, which continue to this day.

Debt. The war left all the major European nations in debt, and the victors insisted that Germany pay $33 billion in reparations. Anger over reparations, a key element in Nazi propaganda, helped undermine democracy in Germany after the Great War.

Martha Hanna is Professor of History at the University of Colorado, Boulder. She is the author of the prize-winning book, Your Death Would Be Mine: Paul and Marie Pireaud in the Great War.

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| 303-492-8008 | cupresents.org | C-1

The Pirates of PenzanceA comic opera in two actsMusic by Arthur SullivanLibretto by W. S. Gilbert

Cast

Major-General StanleyThe Pirate King

SamuelFrederic

Sergeant of PoliceMabelEdithKate

IsabelRuth

Charles DanielJames HeldSkyler SchlenkerMax HosmerLuke WilliamsMeagan MahlbergBrianna ProvdaMegan SchiradoCaroline VickstromTaylor Raven

Kristofer BuxtonFrank FainerZachary BegleyPaul KroegerChas DuthoitAbigail TriemerMegan MontalbanoCaty WilcoxSophie Malia LedinghamKristyn Christman-McCarty

Friday/Sunday Saturday

Chorus of Pirates: Aaron Jenkins, Kristofer Buxton, Danny Thompson, Chas Duthoit, Kevin McKenzie, Zac Barger, Zachary Begley, Skyler Schlenker

Policemen: Michael Hoffman, Nathan Ellgren, Nick Boschert, Michael Coduto, Harry James-Roxby

General Stanley’s Wards Lauren Morales, Maggie Masciarelli, Sophia Dove, Kate Manley, Caty Wilcox, Susanna Jacobson, Audrey Wilson

Stage DirectorMusic Director and Conductor

Sunday ConductorAssistant Conductor

Chorus MasterAssistant Director, Dance Captain

ChoreographerLighting and Set Design

Musical PreparationRehearsal Pianists

Leigh HolmanNicholas CarthyJoshua HorschJoshua HorschJoshua HorschKimmy CrawfordStephen BertlesPeter Dean BeckMutsumi Moteki, Bob SpillmanEmily Alley, Deborah Hui, Benjamin Lubbers, Alaina DeBellevue

The Pirates of Penzance will run approximately 2 hours and 10 minutes, including one 20-minute intermission.

A special thank you to Harlequin Costume Company of Winnipeg, Canada, for providing the costumes.

Special thanks to Boulder’s Lucky’s Market for its continued support and donations to the CU Opera program.

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cupresents.org | 303-492-8008 |

Violin INathan SouthwickMarisa IshikawaCallie BrennanJulie NelsonCameron MayT. J. WesselEsther HouSarah Elert

Violin II Lauren PokorzynskiTracy ViatorMorgan DenneyKrystian SalvaCrystal SchneckenbergAllison Charles

Viola Codi NgConrad SclarAleksa KuzmaAndrew Keeve

Cello Cecelia SwansonVela MrdjenRyan FarrisAvery Johnson

Double BassMegan GoreAmanda Johnson

Flute/PiccoloElisa MuzzilloColleen White

OboeEmily June

ClarinetMichael MoyKai Lai

BassoonCameron Burnes

HornTaryn LeeMaggie Rickard

TrumpetCarrie BlosserAaron Jensen

TromboneBryce ReiberMason Jackson

TimpaniJoe Della Penna

PercussionJacob Bori

Orchestra

Technical DirectorAssistant Technical Director

Production AssistantStage and Production Manager

Costume DesignerCostume Assistant

Hand Prop and Wig MasterMakeup Designer

Assistant Stage ManagerAssistant Stage Manager

Recording EngineerPiano Technician

Ron MuellerJeff RusnakChris MartinHally AlbersTom RobbinsAllison MilanTom RobbinsJeannete HickokLane MelottCourtney WilliamsKevin HarbisonTed Mulcahey

Production and Technical Staff

Dean, College of MusicExecutive Director

Operations ManagerMarketing Director

Communications DirectorMarketing and Public Relations Coordinator

Graphic DesignerPublic Relations Assistants

Programs AssistantProduction AssistantBox Office Manager

Box Office Services ManagerBox Office Assistants

Photography

Robert S. ShayJoan McLean BraunNick VocaturaLaima HaleyClay EvansDaniel C. LeonardKaren SchusterRachel Dodson, Emily Scraggs, Colin Wichman, Amelia WellerStephanie DoctorMargaret RomeroAndrew MetzrothMichael CaseyCiara Glasheen-Artem, Sydney Bogatz, Starla Doyal, Lucas Munce, Harper Nelson, Melanie Shaffer, Bradley SteinmeyerGlenn Asakawa, Patrick Campbell, Casey A. Cass

CU Presents

DirectorOperations Manager

Assistant DirectorTechnical Director

Assistant Technical DirectorHouse Manager

Assistant House Manager

Rudy BetancourtJohn JungerbergSara KrumwiedeJP OsnesRhett SnyderRojana SavoyeNicole Anderson

Macky Auditorium Staff

Program editor: Clay Evans | Cover design: Karen Schuster | Program insert layout: Emily Scraggs

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On the coast of Cornwall, at the time of Queen Victoria’s reign, Frederic celebrates the completion of his 21st year and the end of his apprenticeship to a gentlemanly band of pirates. The pirates’ maid of all work, Ruth, appears and reveals that, as Frederic’s nursemaid long ago, she misheard Frederic’s father’s instructions and apprenticed the boy to a pirate, instead of to a ship’s pilot.

Frederic has never seen any woman other than Ruth, and he believes her to be beautiful. The pirates know better and suggest that Frederic take Ruth with him when he returns to civilization. Frederic announces that, although it pains him, so strong is his sense of duty that, once free from his apprenticeship, he will be forced to devote himself to the pirates’ extermination. He also points out that they are too kind to be successful pirates — as orphans, they feel obliged to set prisoners free if they too are orphans. Frederic notes that word of this has gotten around, so captured ships’ companies routinely claim to be orphans.

Frederic invites the pirates to give up piracy and go with him, so that he need not destroy them, but the Pirate King says that, compared with respectability, piracy is comparatively honest. The pirates depart, leaving

Frederic and Ruth. Frederic sees a group of beautiful young girls approaching the pirate lair, and realizes that Ruth misled him regarding her appearance. Sending Ruth away, Frederic hides before the girls arrive.

The girls burst exuberantly upon the secluded spot. Frederic reveals himself and appeals to them to help him reform. One of them, Mabel, responds to his plea, chiding her sisters for their lack of charity. She offers Frederic her pity, and the two quickly fall in love. The other girls discuss whether to eavesdrop or to leave the new couple alone, deciding to “talk about the weather,” although they steal glances at the affectionate couple.

Frederic warns the girls about the pirates, but before they can flee, the pirates return and capture all the girls, intending to marry them. Mabel warns the pirates that the girls’ father is a Major-General, who soon arrives and introduces himself. He appeals to the pirates not to take his daughters, leaving him to face his old age alone. Having heard of the famous Pirates of Penzance, he pretends that he is an orphan to elicit their sympathy. The soft-hearted pirates release the girls, making Major-General Stanley and his daughters honorary members of their band.

Synopsis

The Major-General sits in a ruined chapel on his estate, surrounded by his daughters. His conscience is tortured by the lie that he told the pirates, and the girls attempt to console him. The Sergeant of Police and his corps arrive to announce their readiness to arrest the pirates. The girls loudly express their admiration of the police for facing likely slaughter at the hands of fierce and merciless foes. This unnerves the police but they finally leave.

Left alone, Frederic, who is to lead the police, reflects on his opportunity to atone for a life of piracy, at which point he encounters Ruth and the Pirate King. They have realized that Frederic’s apprenticeship was worded so as to bind him to them until his twenty-first birthday—and, because that birthday happens to be on 29 February (in a leap year), it means that technically only five birthdays have passed, and he will not reach his twenty-first birthday until he is in his eighties. Frederic is convinced by this logic and agrees to rejoin the pirates. He then sees it as his duty to inform the Pirate King of the Major-General’s deception. The outraged outlaw declares that the pirates’ “revenge will be swift and terrible.”

Frederic meets Mabel, and she pleads with him to stay, but he feels bound by his duty to the pirates until his 21st birthday—in 1940. They agree to be faithful to each other

until then, though to Mabel “It seems so long”; Frederic departs. Mabel steels herself and tells the police that they must go alone to face the pirates. They muse that an outlaw might be just like any other man, and it is a shame to deprive him of “that liberty which is so dear to all”. The police hide on hearing the approach of the pirates, who have stolen onto the estate, intending to avenge themselves for the Major-General’s lie.

Just then, the Major-General appears, sleepless with guilt, and the pirates also hide, while General Stanley listens to the soothing breeze. The girls come looking for him. The pirates leap to the attack, and the police rush to the defence; but the police are easily defeated, and the Pirate King urges the captured Major-General to prepare for death. The Sergeant has one stratagem left: he demands that the pirates yield “in Queen Victoria’s name”; the pirates, overcome with loyalty to their Queen, do so. Ruth appears and reveals that the pirates are “all noblemen who have gone wrong.” The Major-General is impressed by this and all is forgiven. Frederic and Mabel are reunited, and the Major-General is happy to marry his daughters to the noble pirates after all.

— Wikipedia.com

Act I — A rocky seashore on the coast of Cornwall, England

Act II — A ruined chapel by moonlight

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From the Music DirectorNicholas Carthy

Many years ago, while I was giving a pre-concert lecture on Edward Elgar’s symphonic music, I blithely claimed that he was the first proper English composer

since the death of Henry Purcell, in 1695. After the lecture I was collared by a gentleman who introduced himself as the president of the Sir Arthur Sullivan society. He took me to task for failing to recognize that Sullivan, born 15 years before Elgar, deserved that title, or at the very least, Sullivan would have been the first great composer since Purcell had he not been sidetracked by that wordsmith W.S. Gilbert, and the need to earn his daily bread. He also pointed out quite forcefully that his society had absolutely nothing to do with the Gilbert and Sullivan society, and made clear just what he thought of that complete oeuvre. And thus the legacy of one of the most successful, and fraught, artistic partnerships the world has known continues.

Sullivan was born in 1842. His father was a military bandmaster and by the time Arthur was 8, he was already proficient in all the instruments of the band. He studied in London and Leipzig and very soon was being touted as England’s most promising young composer. But that did not pay the bills and Sullivan was unable to make a living on his commissions alone. And so he turned his hand to comic opera.

Sullivan’s first opera, Cox and Box (1866), to words by F.C. Burnand, was criticized by a young Gilbert (then writing dramatic critic for the magazine Fun) for being “in many places, of too high a class for the grotesquely

absurd plot to which it is wedded.”

Sullivan was eventually introduced to Gilbert by a mutual friend, the composer Frederic Clay, in 1869. Two years later Gilbert and Sullivan collaborated for the first time.

The 1870s were a time of enormous change in the arts. A rapidly growing, better educated, middle-class needed to be entertained, so theaters were shedding their seedy reputation and starting to produce more family-friendly entertainment. The introduction of street lighting also meant that the journey home from the theater late at night was much safer. One of the great theatrical innovators at that time was Richard D’Oyly Carte, probably the most successful theater owner and impresario of the 19th century, and it was he who brought Gilbert and Sullivan into his fold.

The successes came thick and fast, and brought the three men fame and fortune.

But after about seven years of astonishing achievement, Sullivan was ready to move on. He had had no success at all trying to persuade Gilbert to try more serious fare, and his contract with D’Oyly Carte gave him no time to realize his ambition of writing the first English grand opera. He was also under great pressure from the musical establishment to abandon comic opera and reclaim his title as England’s first serious composer in 150 years. But just as he was about to break free, in November 1882, he suffered a massive financial loss when his broker went bankrupt, and so felt obliged to sign a contract with D’Oyly Carte for a further five years of Gilbert and Sullivan.

The relationship between the two men became increasingly troubled. In March 1884, Sullivan told Carte

From the Stage DirectorLeigh Holman, Director of Opera Studies

At the CU Eklund Family Opera Program, we move forward. We also look back.

The Pirates of Penzance holds a special place in the heart of Americans. After the world

premiere of Gilbert and Sullivan’s comic opera in New York City, in 1879, The New York Times praised the work, writing, “it would be impossible for a confirmed misanthrope to refrain from merriment over it.” It was an instant hit in New York and remained a hit even as W.S. Gilbert, Arthur Sullivan and D’Oyly Carte took it back to London for its 1880 premiere.

Much like the relationship between Americans and The Pirates of Penzance, Boulderites have a deep connection to Pirates and other works of Gilbert and Sullivan. Opening in 1980, former CU Opera Director Dennis Jackson, professor of voice, and opera professor Kuniaki Hata began the Gilbert and Sullivan Summer Festival at the CU College of Music. The two went to

London to attend a performance at the D’Oyly Carte Opera Company and afterward contacted internationally renowned G&S baritone John Reed.

Jackson invited Reed to Boulder to direct the Gilbert and Sullivan summer productions and he returned each year for 10 years to direct students in the G&S style. Dean Bob Fink promoted the festival and it gained a national reputation, serving as a successful recruitment tool for the college. Singers traveled from all over the country to audition for Reed and after being hired, many returned to continue their graduate vocal studies at CU-Boulder — including professional singers Raouf Zaidan and Ashraf Sewaillam, who came to the college because of the festival’s reputation.

Reed’s productions took hold in the hearts of Boulder audiences and a strong G&S fan base emerged. Since Jackson’s retirement, few G&S titles have been revived, so we felt it was time to rekindle the fire that John and Dennis started with this production of The Pirates of Penzance. It is my hope that you too will experience the humor, the music, the vitality and indeed, the legacy, represented in tonight’s production.

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Hally Albers (Production Stage Manager)Hally Albers is a stage management instructor at Colorado State University. She has been stage manager with the San Francisco Opera, Spoleto Festival, Los Angeles Opera, Opera Fort Collins, the University of Northern Colorado and the Central City Opera. She has been assistant stage manager with the Santa Fe Opera and Houston Grand Opera.

Zachary Barger(Pirate)The Pirates of Penzance marks baritone Zachary Barger’s first performance with CU Opera. His credits at the University of Colorado Boulder are Hanschen Rilow in Spring Awakening and male soloist in Songs I was Born to Sing (CU Fringe Festival). He was an Anderson’s Competition finalist in spring 2014. He will appear in November in Jason Robert Brown’s Songs for a New World (CU Theatre and Dance). He is a sophomore vocal performance BM candidate studying under Professor Patrick Mason.

Peter Dean Beck (Set and Lighting Designer) Peter Dean Beck has been with CU Opera for 21 seasons. His past productions include La Traviata, Don Giovanni, Candide, Carousel, Dead Man Walking, Susannah, West Side Story, La Boheme, The Magic Flute, Hansel and Gretel and The Elixir of Love. His other professional credits include the Hawaii Opera Theatre, Arizona Opera, Atlanta Opera, Skylight Opera Theatre, Edmonton Opera, Virginia Opera, Chautauqua Opera (New York), Opera Hong Kong and the Florida State Opera.

Zachary Begley (Samuel)Zachary Begley’s credits with CU Opera include Jamie in Side by Side by Sondheim, Dreadon in Aunt Maggity’s Dark and Stormy Night, chorus in La Bohème and Falstaff, and pit orchestra in Oklahoma!, All Shook Up and Seussical the Musical. Begley is currently pursuing

a BM in voice performance at the University of Colorado Boulder.

Kristofer Buxton(Major General Stanley/Pirate) Kristofer Buxton performed as Hal in CU Opera’s Side by Side by Sondheim. His other credits include Charlie in The Foreigner and ensemble in At Buffalo (CU-Boulder Theatre and Dance), and Warner in Legally Blonde (Arvada Center Teen Intensive). He was nominated for the Kennedy Center American College Theater Festival Irene Ryan Award, 2013 and is a student of John Grau.

Nicholas Carthy Music Director/ConductorNicholas Carthy, in his ninth season with CU Opera, studied at the Mozarteum in Salzburg and made his conducting debut at the Landestheater in Le nozze di Figaro. He also served as musical assistant to Bernard Haitink and Sir Georg Solti at the Salzburg Festival. Carthy made his Italian conducting debut with the Camarata Accademiz of Salzburg and since then has conducted opera productions in Vienna, Salzburg, Oslo, Stockholm, Winterthur, Milan, Rome, Naples, Bonn, Eugene and Tel Aviv. He has conducted orchestras including Royal Philharmonic Orchestra Stockholm, Colorado Symphony Orchestra, Nordwestdeutsche Philharmonie, Orchestra RAI di Torino, Orchestra San Carlo di Napoli and the Accademia Filarmonica Roma. As a sought-after vocal accompanist, he has performed in many of the world’s great halls, including Carnegie Hall, Suntory Hall, Wigmore Hall, Bolshoi Theatre, Musikverein Vienna, La Scala and the Schubertiade in Hohenems.

Kristyn Christman-McCarty (Ruth)Kristyn Christman-McCarty’s credits with CU Opera include Elaine in Side by Side by Sondheim, Die Knusperhexe in Hänsel und Gretel, Jo in Little Women and Dame Quickly in Falstaff. She also originated the roles of Constance Fennimore Woolson in The Master and Ms. Which in A Wrinkle in Time with CU New Opera

The Company

“it is impossible for me to do another piece of the character of those already written by Gilbert and myself.”

Nevertheless the pair produced several new works in this period, including their most successful opera, The Mikado.

The partnership eventually disbanded in 1890, not because of Sullivan, but because of what became known as the “carpet incident.” In this convoluted tale, briefly told, Gilbert found discrepancies in the accounts of D’Oyly Carte pertaining to the purchase of carpet for the front of house at the Savoy theatre and things escalated from there, culminating in a vexatious law suit.

Freed from his obligations, Sullivan went on to realize his dream of writing a grand opera. Ivanhoe, based on the book by Sir Walter Scott, opened in January 1891. That

was not, however quite the end of their collaboration. There was a sort of reconciliation that year and they penned two more operas, neither of which was very successful. The relationship soured anew and at a party to celebrate the anniversary of their first work, The Sorcerer, in 1898, the two men refused to talk to one another. Sullivan died in 1900.

There are many ravishing moments in The Pirates of Penzance, as well as brilliant parodies of French operetta, Italian bel canto, and the English hymnal and psaltery. It is definitely the work of a master, with an assured dramatic hand, and an extremely deft touch. It is very interesting (though probably ultimately useless) to speculate on what Sullivan might have become, had there been no Gilbert, but, had that been the case, we would not have had the The Pirates of Penzance, one of the most delightful little gems of the operatic repertory.

Carthy (cont.)

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Workshop. Other roles include The Third Lady in The Magic Flute, Olga Olsen in Street Scene, La Voix in Les Contes d’Hoffmann, La Maestra in Suor Angelica and Susanna Walcott in The Crucible with the Hillman Opera Company at SUNY Fredonia. She received her BME and BM from SUNY Fredonia in 2011. She is currently pursuing an MM while studying with Jennifer Bird-Arvidsson.

Kimberly Crawford(Assistant Director, Dance Captain)Kimberly Crawford’s past roles with CU Opera include Lee in Side by Side by Sondheim, Dew Fairy in Hansel and Gretel and ensemble in La Bohème, The Rakes Progress, Suor Angelica, Le Nozze di Figaro, Carousel and Don Giovanni. Her other roles include Venere, L’incoronazione di Poppea (Manhattan School of Music Summer Voice Festival), Mimi Marquez in Rent (CU-Boulder Theatre) and Sharon Graham in The Master Class (CU-Boulder Theatre/College of Music). Her honors include the Undergraduate Development Award at CU-Boulder in 2013, singing the National Anthem at the Leeds School of Business commencement, 2012, and the Diverse Music Alliance Scholarship at CU, 2012. She graduated in spring 2014 with a BM in vocal performance with emphasis in theater electives.

Charles Daniel(Major General Stanley)Charles Daniel’s CU Opera roles include Tito and Mr. Webster in The Master and covering Peter in Hänsel und Gretel. Other roles include Vicomte Cascada in The Merry Widow (Birmingham Music Clubs), Cervantes/Don Quixote in The Man of La Mancha (The University of Alabama at Birmingham), The Abbot and Astrologer in Britten’s The Burning Fiery Furnace (UAB), Athamas in Handel’s Semele (UAB), Count Almaviva in scenes from The Marriage of Figaro (UAB) and First Priest in The Magic Flute (UAB). A tenor, he is pursuing a MM in voice performance and is a scholarship recipient at the University of Colorado Boulder. His voice teacher is Grammy Award-nominated baritone Patrick Mason. Daniel debuted his first operatic tenor role in the summer of 2014 for Caruso’s The Master at CU New Opera Workshop.

Charles Douthit (Sergeant of Police, Pirate)Charles Douthit has also performed as a chorus member in Falstaff and The Rake’s Progress (CU Opera). He is pursuing his choral BME at the College of Music and studies with Patrick Mason.

Sophia Dove (Ward)Sophia Dove’s credits at CU Opera include Sandman Hänsel und Gretel, chorus in Le Nozze di Figaro and Falstaff, and the cover of Elvira in L’italiana in Algeri. Her other credits include chorus in Tosca (Cedar Rapids Opera Theater) and Zerlina in Don Giovanni (Taos Opera Institute).

Nathan Ellgren (Policeman)Nathan Ellgren’s theatrical credits include Ensemble in Spoon River Anthology (Boulder Acts), Galen in Believe

and Van in Dog Sees God (CU-Boulder Fringe Festival), understudy for all male roles in Metamorphoses, Alan Seymour in Picnic (CU-Boulder Theatre), Todd in Far Away, ensemble in Litmus, Student/Mormon Missonary in 14 (CU-Boulder Theatre). His musical theater credits include Leon Czolgosz in At Buffalo:The (CU-Boulder Theatre), Simon Stride in Dr. Jekyll and Mr. Hyde: The Musical (Dairy Center for the Arts), Brad in Sexting: The Musical (CU-Boulder Fringe Festival) and Frank Decker in Working: The Musical (Osseo High School).

Frank D. Fainer (The Pirate King) Frank D. Fainer’s credits with CU Opera include Stevie in Side By Side by Sondheim, Schaunard in La Bohème and Jesus in Godspell (Scottsdale Community College).

James Held (Pirate King)James Held’s CU Opera credits include The Father (Peter) in Hänsel und Gretel and Alcindoro in La Bohème. Other credits include Creonte in Cherubini’s Medea, (University of Wisconsin-Madison), Leporello in Don Giovanni and Flynt/Gremio in Kiss Me, Kate, Sid in Albert Herring and Dick McGann in Street Scene (Seagle MusicColony). He also has now premiered two operas, performing the role of Hendrik Christian Andersen/Hammon in The Master (CU New Opera Workshop) and The British Guy in Wired for Love (Madison New Muse). He is the Coulter Scholarship recipient at CU-Boulder and received the Warzyn-Thorpe and Opera Props Scholarships from UW-Madison. He received his BM in vocal performance from the University of Wisconsin-Madison, where he studied under baritone Paul Rowe. Held is a second-year MM vocal performance student at the University of Colorado Boulder, studying with Patrick Mason.

Michael Hoffman (Policeman) Michael Hoffman’s previous roles include Dreuet/George Jr. in Sister Carrie (Florentine Opera Co.) chorus in Cosi fan tutte, Die Zauberflöte, Parables, Die Fledermaus and The Bartered Bride (University of Minnesota). He is a first year MM vocal performance student studying with Patrick Mason. He earned a BM in vocal performance from the University of Minnesota in 2014.

Leigh Holman Director of Opera StudiesLeigh Holman balances her teaching and professional stage directing career in the US and abroad. As well suited to new operatic works as she is to traditional works, she has produced and directed workshops of operas in association with composers including Libby Larsen, Herschel Garfein, Lori Laitman, Robert Aldridge, Daniel Kellogg and Kirke Mechem. As founder of CU NOW (New Opera Workshop), she continues to passionately promote the creation, collaboration and production of new American works.

Joshua Horsch (Conductor/Assistant Conductor/Chorus Master)Joshua Horsch’s current positions include assistant conductor/rehearsal pianist for Fort Worth Opera, co-music director/conductor of the CU Symphony Orchestra, assistant conductor for the CU Symphony and

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Chamber Orchestras and assistant conductor/chorus master for CU Opera. His other positions have included guest music director for CU Opera’s production of Side by Side by Sondheim, assistant chorus master for the Colorado Music Festival, conductor/pianist for CU New Opera Workshop, conductor/pianist for the Newport Music Festival and staff music director/conductor for the Boston Opera Collaborative. Guest conducting engagements include Las Orquestas Sinfónicas de Tarija and the Lyatoshinsky Chamber Orchestra of Ukraine. His workshop conducting includes the Baltimore Symphony Orchestra, the Oregon Bach Festival Orchestra and Chorus and the Bohuslav Martinu Symphony Orchestra. He received a MM degree in orchestral conducting from the Pennsylvania State University and a BM degree in piano performance from Ithaca College.

Max Hosmer (Frederic)Max Hosmer’s CU Opera credits include Rodolfo in La Bohème, Henry James in The Master, Bruce in Side by Side by Sondheim, Laurie in Little Women, Fenton in Falstaff, Calvin O’Keefe in A Wrinkle in Time, Sellem in The Rake’s Progress, Eduardo in La Cambiale di Matrimonio, Rinuccio in Gianni Schicchi, Lefty Calibrini in Ludlow and Don Basilio/Don Curzio in Le Nozze di Figaro. His other credits include Young Collector in A Streetcar Named Desire (Townsend Opera Players), Fenton in Falstaff (Emerald City Opera) and Gastone in La Traviata (Townsend Opera Players). His honors and awards include the Bernard Polak Memorial Award and the Myrle F. Hoffman Award from the Denver Lyric Opera Guild Competition and 2nd place in Division II of the National Opera Association Collegiate Opera Scenes Competition. Hosmer is a student of Patrick Mason and Matthew Chellis.

Susanna Jacobson (Ward)Susanna Jacobson has recently appeared in the chorus of Mozart’s Cosí fan Tutte (Bethesda Summer Music Festival).She is a sophomore BME student at CU-Boulder.

Harry James-Roxby (Policeman)Harry James-Roxby’s CU-Boulder credits include Georg in Spring Awakening, General Glossop in Jekyll & Hyde. He is a junior at the University of Colorado Boulder and has recently been working with Full Body Singing.

Aaron T. Jenkins (Pirate/cover for Fredric)Aaron T. Jenkins’ CU Opera credits include chorus in The Rake’s Progress, Bardolfo in Verdi’s Falstaff and Bruce in Side by Side by Sondheim.

Paul Kroeger (Fredric)Paul Kroeger’s credits include Albert Herring in Britten’s Albert Herring, Don Basilio in Mozart’s Le Nozze di Figaro and Orpheus in Offenbach’s Orpheus in the Underworld (Southern Methodist University) and Lindoro in L’itlaiana in Algeri (Seagle Music Colony, New York). In summer 2014 he sang with CU NOW at CU-Boulder, where he is pursuing a MM under Patrick Mason. Named one of 13 people to watch in 2013 by FD Luxe, the fashion and culture magazine of The Dallas Morning News, Kroeger

graduated summa cum laude from Southern Methodist University in May 2013.

Sophie Ledingham(Isabel/Ward) Sophie Ledingham sang in the ensemble of La Bohème with CU Opera. Her other roles include the Drowsy Chaperone in The Drowsy Chaperone, Crystal in Little Shop of Horrors, and Sylvia in All Shook Up (Theatre Aspen School). She is pursuing a BM in vocal performance at CU-Boulder and studies with Jennifer Bird-Arvidsson.

Meagan Mahlberg (Mabel)Meagan Mahlberg’s credits with CU Opera include Countess in Le Nozze di Figaro, Marcellina in Le nozze di Figaro, Susannah in Susannah, Violetta in La Traviata, Elvira in Don Giovanni and Queen of the Night in The Magic Flute (which she also performed for a benefit concert with the Boulder Youth Symphony), Elektra in Idomeneo, Echo in Ariadne auf Naxos and Bianca in The Rape of Lucretia. Her other credits include Vanessa in Vanessa (Boulder Opera), Hetty in The Clever Artifice of Harriet and Margaret (world premier for composer Leanna Kirchoff) and Suor Angelica in Suor Angelica (Opera Oggi, New York). A student of Jennifer Bird-Arvidsson, Mahlberg is currently pursuing the PC program at the University of Colorado. Mahlberg earned her MM in voice performance and BM in voice performance from at CU-Boulder, where she is pursuing a performance certificate and studying with Jennifer Bird Arvisson.

Kate Manley (Ward)Kate Manley’s CU Opera credits include chorus in La Bohème, Le Nozze di Figaro and Suor Angelica. She is a senior at the University of Colorado Boulder majoring in vocal performance.

Maggie Masciarelli (Ward)This is Maggie Masciarelli’s first production with CU Opera. Her previous credits include Baker’s Wife in Into the Woods and Ida Strauss in Titanic the Musical (Centerstage Theatre Company), and Vivienne Kensington in Legally Blonde the Musical (Fairview High School). She is pursuing a BME in choral music education at CU-Boulder.

Kevin McKenzie (Pirate)Kevin McKenzie’s credits with CU Opera include chorus in Falstaff and La Bohème. He studied with Dr. John Grau during the 2013 school year and he is currently pursuing a BM vocal performance degree under Matthew Chellis.

Megan Montalbano(Edith)Megan Montalbano performed with the ensemble in CU Opera’s La Bohème. Her credits with CU-Boulder Theatre include Rona in 25th annual Putnam County Spelling Bee and Audrey in As you Like it. Her other credits include Steph/Ensemble in RENT (Ignite Theatre Co.), Ermengarde in Hello Dolly and Mrs. Webb in Our Town (Country Playhouse). She is a BFA musical theater student.

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Lauren Morales(Ward)Lauren Morales’ credits with CU Opera include Clorinda in La Cenerentola and chorus in Falstaff. She is a senior BM student at CU-Boulder and is a student of Abigail Nims.

Ron Mueller (Technical Director) Ron Mueller has been with CU Opera for 17 seasons. His past CU Opera productions include La Traviata, West Side Story and Dead Man Walking. His other professional credits include Skylight Opera, University of Wisconsin-Milwaukee, Colorado Shakespeare Festival and Boulder’s Dinner Theatre.

Brianna Provda(Edith) Brianna Provda’s CU-Boulder credits include Dottie in Side by Side by Sondheim (CU Opera) and Meg in Little Women and Denise in 14 (CU Theatre and Dance — Kennedy Center American College Theatre Awards first place winner). Her other credits include Anne in A Little Night Music (Harrower Summer Opera), Ariel in Footloose (Musical Theatre Village) and Samantha/Kaya/Molly in The American Girls Revue (American Girl Theatre Los Angeles). Her awards include Musical Theatre Finalist Kennedy Center American College Theatre Awards, second place, NATS Regional Denver Auditions, first place, California Thespian Festival and Top Ten Finalist in Vocal Performance, Orange County Icon. She is a student of Matthew Chellis and Adam Ewing and will graduate in December with BFA in musical theater.

Taylor Raven (Ruth)Taylor Raven’s other roles with CU Opera include Lady Wolseley, Governess and Miss Loring in The Master, Die Knusperhexe in Hänsel und Gretel and chorus in La Bohème. Her other credits include Annio in La Clemenza di Tito, Martha in Dream Lovers, La Voix in Les Contes D’ Hoffman (University of North Carolina at Chapel Hill). Her honors and awards include UNC Concerto Voice Finalist, 2012 and the Hayden B. Renwick Achievement Award, 2013. She is pursuing a MM in voice performance and studies with Abigail Nims.

Tom Robbins (Costume Designer) Tom Robbins has been with CU Opera for 23 seasons. His past CU Opera credits include Don Giovanni, Anything Goes, Susannah, Carousel and The Rake’s Progress. His other professional credits include Bonfils Theater, Opera Colorado and the Colorado Ballet.

Megan Schirado (Kate)Megan Schirado’s CU-Boulder credits include Hänsel in Hänsel und Gretel, chorus of La Bohème and Maggie in The Clever Artifice of Harriet and Margaret (CU Opera). Her other credits include Meg Page in The Merry Wives of Windsor/Falstaff (Johanna Meier Opera Theatre Festival) and Dido and Aeneas (Northern State University). She earned first place in the 2013 National Association of Teachers of Singing competition and has performed “Parto, ma tu ben mio” from La Clemenza di Tito as a

guest soloist with the NSU Civic Symphony Orchestra. Schirado is currently an MM student at CU-Boulder.

Skyler Schlenker(Samuel/Pirate King cover/Pirate chorus)This is Skyler’s Schlenker’s first performance with CU Opera. His previous credits include Second Man in Armor in The Magic Flute and Cerberus in L’Orfeo (Ithaca College). For summer 2014 he was a young artist with the Janiec Opera Company at the Brevard Music Center, where he performed the role of Kromov in The Merry Widow, several roles in the world premier of Speed Dating Tonight, and ensemble in Falstaff. Schlenker is pursuing a BM in vocal performance major at CU-Boulder and has a BA in drama from Ithaca College.

Daniel Thompson (Pirate)Daniel Thompson sang the role of Louis in Side by Side by Sondheim with CU Opera. He is studying computer science engineering and vocal performance at CU-Boulder.

Abigail Triemer (Mabel)Abigail Triemer performed the role of Gretel in Hänsel und Gretel with CU Opera. Her other credits include Serafina in Il Campanello di Notte and Corinna in Il Viaggio a Riems (Wichita State University) and Soeur Constance in Dialogues des Carmelites (Opera Academy of California). She earned a BM from Wichita State University in 2013.

Caroline Vickstrom (Isabel) Caroline Vickstrom’s CU Opera credits include Dottie in Side by Side by Sondheim and chorus in La Bohème. Her other credits include Lisa in Quilters (CU-Boulder Theatre) and Leisl in The Sound of Music (Evergreen Chorale). She studies vocal performance with Abigail Nims.

Catherine Wilcox (Kate) Catherine Wilcox’s CU Opera credits include Bianca in The Rape of Lucretia and Ursule in Beatrice et Benedict (opera scenes program). She was a finalist in the 2013 CU-Boulder Anderson competition and is currently pursuing a BM degree.

Luke Williams (Sergeant)Luke Williams’ CU Opera credits include Pistola in Falstaff and Father Trulove in The Rake’s Progress. His other credits include Lucas in The Student Prince, Lodovico in Otello, Sciarrone in Tosca (Utah Festival Opera), Marco in A View from the Bridge, Superintendent Budd in Albert Herring (Indiana University) and Angelotti in Tosca (Opera Delaware).

Audrey Wilson (Ward/cover for Ruth)This is Audrey Wilson’s first performance with CU Opera. Her other roles include The Monitor in Suor Angelica and Venere in L’incoronazione di Poppea (Oakland University). She is a first year MM student in vocal performance/pedagogy and studies voice with Abigail Nims.

| 303.492.8008 | 17

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www.BoulderPhil.org303.449.1343 ext. 2 Tickets start at $13; Students $5!

Choose 3 or more concerts and save 10%!

Opening Night: ScheherazadeSEP. 14, 2014—7 PM at MackyGABRIELA MARTINEZ, PIANOCHARLES WETHERBEE, VIOLINSAINT-SAËNS Piano Concerto No. 2

Stravinsky’s Firebird SuiteOCT. 11, 2014—7:30 PMTWYLA ROBINSON, SOPRANO BRIAN JONES, TIMPANISTRAUSS Four Last SongsSIBELIUS • GRIFFES

Piano Legends: The Music of Billy Joel & Elton JohnNOV. 8, 2014—7:30 PM

The Nutcracker BalletNOV. 28-30, 2014

Beethoven’s “Emperor” ConcertoJAN. 17, 2015—7:30 PMCONRAD TAO, PIANOBEETHOVEN Creatures of Prometheus

Legendary LoveFEB. 14, 2015—7:30 PM PHILIPPE QUINT, VIOLINCORIGLIANO The Red Violin Concerto

Season Finale:Dvořák’s Cello ConcertoAPR. 25, 2015—7:30 PM ZUILL BAILEY, CELLOBARTÓK Concerto for Orchestra

All concerts are at Macky Auditorium, CU Campus, Boulder

MICHAEL BUTTERMAN, MUSIC DIRECTOR

BOULDER

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2014-2015 SEASON

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Faculty Tuesdays

AUGUST 26: Paul McKee, trombone

Meet the New Guy: The Arrangements and Compositions of Paul McKee

SEPTEMBER 2: Yoshiyuki Ishikawa, bassoon

The Versatile Bassoon— Works from Baroque to Modern

SEPTEMBER 9: Christina Jennings, flute

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SEPTEMBER 16: Elizabeth Farr, harpsichord

Bach Preludes and Fugues—Take two!

SEPTEMBER 23: Alejandro Cremaschi, piano

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With The New Music Ensemble and friends

NOVEMBER 18: Daniel Silver, clarinet

Atonement

DECEMBER 2: Margaret McDonald, piano

Best of Broadway

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


| 303.492.8008 | 21

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Artist Series

BENEFACTORMark and Margaret CarsonCarson-Pfafflin Family FoundationGreg Silvus and Melanie MillerEllen and Joshua Taxman

SPONSORDiane and Richard DunnDaryl and Kay JamesMary LamyLouise Pearson and Grant Couch

PATRONAnonymousJoan McLean BraunChris and Barbara ChristoffersenRuth Carmel KahnMidge KorczakHal OsteenScott Wiesner and Janet Ackermann

SUPPORTERAnonymousAlbert and Nancy BoggessFiona and Marv CaruthersCarol and Michael GallucciDoree and Jerry HickmanMyra JacksonSusan and Jon LounsburyHeidi and Jerry LynchJanet and Scott MartinRobert and Sandra McCalmonJudy and Alan MegibowJerry and Jamie OrtenMikhy and Michael Ritter Alicia and Juan RodriguezLawrence and Ann Thomas

CONTRIBUTOREllen and Dean BoalNorma Ekstrand and Tom CampbellMarty Coffin Evans and

Robert TremblyHarold and Joan LeinbachRobert and Francine MyersBarbara and Irwin NeulightGary and Beth RauchStephanie and Alan RudyKenneth Pope and Christine Willis

MEMBERDavid BeausangGil and Nancy BermanShirley CarnahanPauline and Noel ClarkCatherine CloutierKenneth DellFran EvansLeslie and Merrill GlustromJohn Graham and Lorin LearGregory and Gladeane LefferdinkPamela LelandJudah and Alice LevineThomas and Gail MaddenPaul and Kay McCormickJanet and Hunter McDanielTammy NoirotKim and Rich PlumridgeRandall RutschRuth Shanberge in memory

of Carol SeidemanMary Ann Shea and Steven MeyrichCourtland and Carolyn SpicerZoe StiversRandi and Anthony StrohTom and Karen ThibodeauLloyd Timblin Jr.Geoffrey TyndallDerek Van WestrumVince and Caroline Wayland

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.

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Takács Society

BENEFACTORAlbert and Nancy BoggessGary and Judith Judd in memory

of Fay ShwayderNorma R. Johnson Fund in memory

of Fay Shwayder

SPONSORPamela DeckerJanet and David RobertsonMarion Thurnauer and

Alexander Trifunac

PATRONCatharine Hawkins FoundationThomas and Carol CechChris and Barbara ChristoffersenCarol Lena KovnerKathleen SullivanThe Takacs QuartetJohn and Carson Taylor

SUPPORTERAnonymousRobert R. KehoeWalter and Eileen KintschLise MennVirginia M. NewtonNewton Family Fund, Inc.Neil and Martha PalmerMikhy and Michael RitterSusan and David SeitzLawrence and Ann ThomasJames and Lena Wockenfuss

CONTRIBUTORVirginia and Stanley BoucherWilliam and Alice BradleyChristopher and Margot BrauchliNoel and Pauline ClarkHarold and Joan LeinbachNancy and Paul LevittPatricia and Robert LisenskyCheryl Stevenson and James CannonStevenson-Cannon Family FundLynn StreeterRandi and Anthony StrohPatricia Thompson

MEMBERLois AbbottMaria and Jesse AweidaTed and Ingrid BecherMarda BuchholzKevin and Diana BunnellPatricia ButlerShirley CarnahanPenny CheneryCharlotte CorbridgeJoann and Richard CrandallBarbara and Carl DiehlCarolyn and Don EtterMarcia Geissinger and Neil AshbyMary and Lloyd GelmanSteve Goldhaber and

Mariana Goldhaber-VertensteinDianne and Kenneth HackettDavid HammerJon and Liz HinebauchBruce and Kyongguen JohnsonJennifer and Bob KamperCaryl and David KassoyMireille KeyAlice and Judah Levine

Albert and Virginia LundellHeidi and Jerry LynchKamilla MacarThomas and Gail MaddenCaroline MaldeNancy and John MalvilleMaxine MarkJ. Richard and Marjorie McIntoshPeter and Doris McManamonChristopher Mueller and

Martha WhittakerJoan NordgrenAlison and Graham OddieJoanie OramJulie and Wayne PhillipsArthur and Ina RifkinJoanna and Mark RosenblumJoAn SegalRuth Shanberge in memory

of Carol SeidemanTodd and Gretchen SlikerGrietje SloanCarol and Art SmootJan and Charles SquierHelen StoneBerkley TagueLaurie and Arthur TraversMary and Peter Van EttenBetty Van ZandtThomas VanZandtChristopher and Leanne WaltherBill WoodM. Yanowitch

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.


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.

| 303.492.8008 | 25

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Friends of CU Opera

BENEFACTORAnonymousThe Academy Charitable

Foundation, Inc.Allen Family FundPaul EklundBob GrahamAnn Oglesby

SPONSORAlan and Martha Stormo

PATRONChris and Barbara ChristoffersenAlbert and Betsy HandBob and Mikee KapelkeKen and Ruth WrightWright Family Foundation

SUPPORTERAnonymousCaulkins Family FoundationJohn HedderichJo and David HillMikhy and Mike RitterRotary International District # 5450Lawrence and Ann Thomas

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Robert TremblyDavid and Janet HummerHarold and Joan LeinbachBurr LloydDave and Ann PhillipsPeter Wall

MEMBERJudith Auer and George LawrenceBob Burnham and Gail PromboinAllene CashBen and Gale ChidlawWallace and Beryl ClarkPeter and Joan DawsonRichard and Margaret DillonEllen and John GilleSteve Goldhaber and

Mariana Goldhaber-VertensteinSusan GraberJanet HanleyLinda L. JohnsonFrank and Marion KreithNicholas and Mollie LeePatricia and Robert LisenskyHeidi and Jerry LynchBruce MackenzieMarian MathesonByron and Cathy McCalmonDenise McCleary and Paul Von BehrenCorinne McKayRichard and Donna MeckleyPat and Bob MeyersMarilyn NewsomMargaret OakesRobert and Marilyn PeltzerDennis PetersonJuan and Alicia RodriguezElaine SchnabelRuth SchoeningJoAnn Silverstein and Nevis CookHelen StoneDaniel Urist

GRANTSDenver Lyric Opera GuildGalen & Ada Belle Spencer FoundationLouis and Harold Price FoundationRoser Visiting Artist EndowmentThe Schramm Foundation

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.


| 303.492.8008 | 29

Season tickets on sale now!

University Theatre SeriesOur Town by Thornton Wilder (Sept. 26 - Oct. 5)A Broadway Christmas Carol by Kathy Feininger (Dec. 4 - 21)Tartuffe by Molière (Feb. 13 - 22)Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice (April 10 - 19)Irey Dance Theatre[UN] W.R.A.P.: Undoing Writing, Research and Performance (Sept. 12-13)The D.A.M. Show: Dance Art Media (Oct. 17-19)Liminal (Nov. 14-16)Catapult (Feb. 13-15)The Current (April 17-19)

Single tickets start at $12For full events listing: colorado.edu/theatredance

2014–2015 Seasoncupresents.org 303-492-8008

CU Theatre & Dance

New to the opera? Here are a few tipsCU Opera director Leigh Holman describes opera as “a thrilling spectacle, rich in emotion, drama and music.” But what if you are a newbie? We asked Leigh to answer a few questions about how to make the most of your CU Opera experience.

What is opera? It’s a venerable theatrical and musical art form in which singers and musicians perform a dramatic work that combines text—known as the libretto—and a musical score. Operas are sung, not spoken, and almost always performed in the language in which they were written, including Italian, German, French, Russian and English.

How will I understand what’s going on, especially if it’s in a foreign language? Your friends Google and YouTube are happy to help! You can find YouTube clips of arias—expressive moments when the singer is performing solo—songs and even entire performances of most traditional operas. It’s a great idea to read a synopsis online and the notes in your CU Presents program also offer great information. And CU Opera always provides a crib sheet, projecting supertitles in English for operas sung in another language.

Do you really have to dress to the nines when you go to the opera? It’s always fun to dress up. But hey, this is Boulder. You can wear tails and a top hat, pearls and a gown, jeans and a sweater or flip-flops and t-shirt—pretty much anything you like, though earmuffs or dark glasses will detract from your experience.

What should I listen for during the performance? First, pay attention to the overture—the musical number played by the orchestra to start the show often follows the emotional arc of the story—doom or joy, celebration or mourning—and is layered with themes and passages from the larger work. Singers, too, color and weight their voices to reflect mood and emotion. Listen carefully and you’ll be amazed to hear dark and light, good and evil, woe and happiness, just from the way they color their voices.

OK, I have to ask: What’s the story with the buxom lady wearing horns and braids? Oh, her? That’s just Brünnhilde, one of the Norse Valkyries in Wagner’s famous German opera, The Ring of the Nibelung. Besides being played by Bugs Bunny in the famous cartoon, What’s Opera, Doc?, she sings the long, final aria and has become inextricably linked with the art form for many non-aficionados. But don’t expect to see her at CU Opera … unless we’re doing Wagner!

CU Opera will perform Gilbert and Sullivan’s classic comic operetta, The Pirates of Penzance, Oct. 24-26 at Macky Auditorium. For tickets and information, go to cupresents.org or call the box office at 303-492-8008.

—Leigh Holman, director of CU Opera

Personnel

COLLEGE OF MUSIC ADVISORY BOARDRobert Shay, DeanJames R. Austin Chris BrauchliSteve BrunsBob BuntingJan BurtonJohn DavisPaul EklundBill wElliottMartha Coffin EvansJonathan FoxDavid FulkerGrace GammLissy GarrisonLloyd GelmanDoree HickmanDavid HummerDaryl JamesCaryl KassoyRobert KorenblatErma ManteyJoe NeglerSusan OlenwineMikhy Ritter, co-chair Becky Roser, co-chair Mark TezakJeannie ThompsonJack Walker

HONORARY DIRECTORSDean BoalBob CharlesEileen ClineDonna ErismannDave Grusin

CU Presents offers the very best in the performing arts on the CU-Boulder campus, including the Artist Series, Colorado Shakespeare Festival, CU Opera, the Takács Quartet, CU Theatre & Dance and the Holiday Festival.

Joan McLean Braun, Executive DirectorNick Vocatura, Operations DirectorLaima Haley, Marketing DirectorClay Evans, Communications DirectorDaniel C. Leonard, Marketing

and Public Relations CoordinatorKaren Schuster, Graphic DesignerRachel Dodson, Emily Scraggs,

Colin Wichman, Public Relations Assistants

Stephanie Doctor, Programs AssistantMargaret Romero, Production AssistantAndrew Metzroth, Box Office ManagerMichael Casey, Box Office Services

CoordinatorCiara Glasheen-Artem, Sydney Bogatz,

Starla Doyal, Lucas Munce, Harper Nelson, Melanie Shaffer, Bradley Steinmeyer, Box Office Assistants

Kevin Harbison, Recording EngineerNancy Quintanilla, Financial ManagerTed Mulcahey, Piano Technician

MACKY AUDITORIUM STAFF Rudy Betancourt, DirectorSara Krumwiede, Assistant DirectorJohn Jungerberg, Operations ManagerJP Osnes, Technical DirectorRojana Savoye, House Manager

Program editor: Clay Evans Cover design: Karen Schuster

PATRON INFORMATION• CU Presents venues are fully accessible to

patrons using wheelchairs and those with other special needs. Please call the box office as early as possible at 303-492-8008 to make arrangements.

• Parking is available in the Euclid Avenue Autopark, Lot 310, and Lot 204 for $4 per evening or weekend day. Lot 380 is reserved for VIP members of the Artist Series. Drop-off and handicap parking is available near all venues. For more information please call the box office at 303-492-8008.

• Food is permitted in seating areas of Macky Auditorium and the Mary Rippon Outdoor Theatre, but prohibited in other campus venues unless otherwise noted.

• Photographic and recording devices are prohibited.

• All programs, artists and prices are subject to change.

• All sales are final. Subscribers may exchange tickets for another night or performance with no exchange fee; single-ticket exchanges are subject to a $3 per ticket fee. Exchanges are subject to availability and must be made at least one business day prior to performance; an upgrade fee may apply.

• CU presents will hold all events as scheduled unless the CU-Boulder campus is closed due to hazardous weather. We will make every effort to notify patrons of an emergency closure. For detailed information on the Colorado Shakespeare Festival’s rain policy, please visit coloradoshakes.org.

• Patrons are encouraged to call CU Presents at 303-492-8008 for information on the suitability of events for children.

• Patrons are encouraged to refrain from wearing strong fragrances.

• Can’t use your tickets? Return them to the CU Presents box office as a tax-deductible contribution prior to the beginning of the performance.

• The University of Colorado Boulder is a smoke-free campus.


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CU Presents Magazine Opera Fall 2014, Oct. 24-26

Documents

Transcript of CU Presents Magazine Opera Fall 2014, Oct. 24-26