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Mark Adamo’s

Little Women

303-492-8008

hile Mark Adamo has composed a substantial folio of chamber, choral and orchestral music, the Philadelphia-born composer-librettist’s principal work has been for the opera house. Commissioned for a 1998 première by Houston Grand Opera, Little Women, after the

Adamo composed both music and libretto; it has been nationally telecast on the PBS series Great Performances, released on CD by Ondine Records, and heard in over 70 national and international engagements from New York to Mexico City, Minneapolis, Adelaide, Tel Aviv, Calgary and Tokyo, including two for which Adamo served as stage director. His second opera, Lysistrata, or The Nude Goddess, after Aristophanes, was commissioned and introduced to comparable critical acclaim by Houston

2005 and made its East Coast début in March 2006 at New York City Opera, where Adamo was composer-in-residence from 2001–2005. In January 2009, San Francisco Opera announced it had commissioned Adamo to compose both score and libretto for an opera entitled Magdalene, of which the company plans a première in June 2013.

, was introduced by the National Symphony Orchestra under Leonard Slatkin in June 2007; the slow movement of the concerto, , appears on Eclipse Chamber Orchestra’s recording of Adamo’s orchestral work

his Late Victorians, his symphonic cantata for singing voice, speaking voice, and chamber orchestra: , from Little Women, for strings, harp, celesta, and percussion; and the .

Choral work includes , commissioned by the Choral Arts Society of Washington and introduced at the Kennedy Center in 2000: , for Francisco Nuñez and the Young People’s Chorus of New York, introduced in 2006; and No. 10: , recorded by Seattle’s Esoterics and released in spring 2008.

Mark Adamo began his education at New York University, where he subsequently taught composition; as a freshman in the Dramatic Writing Program, he received the Paulette Goddard Remarque Scholarship for outstanding undergraduate achievement in playwriting. He went on to earn a Bachelor of Music Degree in composition from the Catholic University of America in Washington, D.C., where he was awarded the Theodore Presser prize for outstanding undergraduate achievement in composition. His music is published by G. Schirmer.

For further information please visit www.markadamo.com.

Music by Mark Adamo (b.1962)

Libretto by Mark Adamo after the novel by Louisa May Alcott

World Premieres Houston Grand Opera, March 13, 1998 At the University of Colorado Boulder Music Theatre—directed by Leigh Holman and Christopher Zemliauskas, April 25, 26, 27, 28, 2013 Other Operas by Mark Adamo Little Women (1998) , a 10-minute chamber opera (1999) Lysistrata, or The Nude Goddess (2005)

Selected Other Works by Mark Adamo Late Victorians (1994, rev. 2007) , Concerto for Harp and Orchestra (2006) (from the opera Little Women (1999, revised 2007) (2007) Overture to Lysistrata, (2006) (2006) (1999, rev. 2009) (1995, rev. 2009) (1995, rev. 2009) (1997, rev. 2009) (1995, rev. 2009) (1995, rev. 2009)

W

Synopsis(Setting: Massachusetts during the Civil War)

PrologueThe dark attic of the March house.Jo, distraught, greets her friend Laurie. He’s just married Jo’s younger sister Amy; but has he only married Amy to stay near Jo? Worse: Laurie adores Amy—nothing is as it was—and the opera spirals back in time to show why Jo tried to keep it that way.

Act I, Scene 1The attic, two years ago.Jo and her sisters Meg, Beth, and Amy make games of their chores. Laurie tauntingly tells Jo that his tutor, John Brooke, keeps Meg’s glove because he loves her. Jo, alone, sketching a story, fearfully denies that Meg might love him too.

Act I, Scene 2In front of the March house, weeks later.Brooke courts Meg. Jo urges the family to reject him. Cecilia, the girls’ aunt also scorns Brooke: but Meg, resolved, accepts him. Her family celebrates; but Jo accuses Meg of abandoning her.

Act I, Scene 3The March garden, the following summer.Meg and Brooke adapt their parents wedding vows. A feverish Laurie pleads for Jo’s love. She spurns

Meg cries for help.

Act II, Scene 1Daily Volcano, a New York City

A triumphant Jo sells a story; back at her boarding house, she writes her increasingly atomized family. A new acquaintance, Fredrich Bhaer, invites her to the opera.

Act II, Scene 2Simultaneously, Jo’s boarding house; the March parlour; sunny Oxford lawn.

Oxford, Amy tests Laurie’s feelings for Jo. Beth rages at the piano. Bhaer ardently recites Goethe to Jo: then Alma’s desperate telegram interrupts

Act II, Scene 3Beth’s bedroom, three sleepless nights later. Beth dozes as her family keeps vigil. Jo bursts in; Beth bids her family leave. Beth urges Jo to accept her impending death.

Act II, Scene 4Before the March house, the following spring.Cecilia baits Jo with Amy’s letter about loving Laurie. Jo wearily admits Bhaer may have abandoned her. Cecilia urges Jo to choose solitude; refusing, Jo retreats to the attic.

Act II, Scene 5The attic.As in the beginning, Jo, distraught. Laurie, appearing, again reminisces; but now Jo rejects the past. Her sisters materialize as memories: Jo, in emotional exorcism, celebrates and releases them. Bhaer—her future—appears: Jo extends her hand to him.

CU NOW

Excerpts from A Wrinkle in Time

an opera by Libby Larsenlibretto by Bradley GreenwaldBased on the award-winning

CU New Opera Workshop is an interactive workshop-style performance featuring acclaimed opera composers working with CU singers on new operas, on their way to professional world premieres. This summer’s perform-ance will feature excerpts from Libby Larsen’s in Time. The full-length premiere will be with the Fort Worth Opera under General Director Darren K. Woods. Both Mr. Woods and Ms. Larsen will be attending the workshop this summer to offer insight into their vision of bringing the opera from the book to the stage.

June 9 at 2 p.m.: Works by Libby Larsen”June 14, 15 at 7:30 p.m.:June 16 at 2 p.m.:ATLAS Black Box Theater

TICKETS: $15 general admission (no discounts)303.492.8008 or cupresents.org

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PETER C. DIETZEJOEL C. DAVISROBYN W. KUBEKARL F. KUMLI IIICARMEN S. DANIELSONDAVID J. THROWERJOEL C. MAGUIRERENÉE EZERSTEPHEN A. CLOSKYSTAR L. WARINGTUCKER M. KATZCARE ENICHENNICHOLAS G. MULLERJOSHUA E. ANDERSONMARK D. DETSKYGABRIELLA STOCKMAYER

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Recording devices and cameras are strictly prohibited.

(in order of appearance)

Jo Kristyn Christman-McCarty Anna Engländer Meg Leigh Joseph Emily Moses Beth Christina Pezzarossi Angela Born Amy Adara Towler Kirsten Kamna Alma Julie Silver Halley Pearlstein Cecilia Shannon Kaye Emily Sinclair Laurie Max Hosmer Christian Sanders Brooke Adam Ewing Adam Ewing Bhaer Michael Aiello Michael Aiello Gideon Malcolm Ulbrick Malcolm Ulbrick Dashwood Zac Garcia Zac Garcia Charlotte Haertling, Nicole Wilke, Melanie Shaffer, Victoria Peña

Act 1: Prologue Scene 1 - The Attic Scene 2 - The path in front of the March house Scene 3 - The March gardenAct 2

Weekly Volcano New York City

Little Women will run approximately two hours with one twenty-minute intermission.

Music Director Christopher Zemliauskas

Associate Director Chelsea Lewis Set Designer Bruce Bergner Lighting Designer Jane Spencer Costumer Tom Robbins Technical Director Ron Mueller

LITTLE WOMEN, April 25, 26, 27, 28, 2013

Little WomenAn opera in two acts

Music and Libretto by Mark Adamoafter the novel by Louisa May Alcott

published by G. Schirmer, Inc.Commissioned by Houston Grand Opera, David Gockley, General Director, c. 1998

Scene 2 - Mrs. Kirke’s boarding house, New York City: the March house: on tour in England Scene 3 - Jo’s corridor in the boarding house/ Oxford Scene 4 - Beth’s bedroom Scene 5 - The path in front of the March house

Music Director/Conductor Christopher Zemliauskas Assistant Conductor Joshua Horsch Musical Preparation Christopher Zemliauskas, Mutsumi Moteki Rehearsal Pianists Allan Armstrong, Yen-meng Tung, Naoko Suga Stage Director Leigh Holman Stage Director’s Teaching Assistant Chelsea Lewis Associate Director Chelsea Lewis Chorus Master Gregory Gentry Opera Production Assistant and Outreach Coordinator Chris Martin Orchestra Manager Cassandra Mueller Set Design Bruce Bergner Lighting Design Jane Spencer Costume Designer Tom Robbins Costume Assistant Linda Walters Make Up Designer Sara Opstad Costume Assistants Kimmy Crawford, Victoria Peña Wig and Hand Prop Master Tom Robbins Opera Technical Director Ron Mueller Assistant Technical Director Jeff Rusnak Stage Manager Hally Albers Assistant Stage Manager Kate Boyles Carpenters and Electricians Cooper Braun-Enos, Dan Sjastaad, Benjamin Smith, Scenic Artist Jennifer Melcher Master Electrician and Board Operator Cooper Braun-Enos Props and Crew apprentice Kimberly Crawford Followspots Jeff Rusnak, Ben Smith Supertitles Designer Chelsea Lewis Supertitles Operators Halley Pearlstein, Shannon Kaye

Orchestra

Production and Technical Staff

Administrative Staff Dean, College of Music Daniel Sher CU Presents Executive Director Joan McLean Braun Operations Manager Nick Vocatura Marketing Director Laima Haley Programs and Scheduling Manager Myra Jackson Graphic Designer Karen Schuster

Accounting Technician Nancy Quintanilla Photography Casey A. Cass, Glenn J. Asakawa, Patrick Campbell

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ClarinetJason Olney

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KeyboardJohn CockerillYen-Meng Tung

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PercussionCarl DixonChris Martin

www.cupresents.org

Little Women, that indispensable chronicle of growing up female in post-Civil War New England, has most often materialized on stage and screen as the romance of a free-spirited young writer torn between the boy next door and a man of the world. Closer reading of Louisa May Alcott’s novel suggested to me a deeper theme: that even those we love will, in all innocence, wound and abandon us until we learn that their destinies are not ours to control. So I cut and shaped the libretto so that Jo’s love for her sisters regained the power it wielded in

accepts that even sincerest love and strongest will cannot stave off change and loss.

Procedurally, the score uses early twentieth-century Russian acting method to freshen German

vocal writing, pan-chromatic harmony, and American theatre-song forms. I made up two main motives

heard as Meg’s Scene 2 aria) as well as themes for all the characters and certain dramatic actions. (For example, there’s an “abandonment” theme, a lament for orchestra spun from those two main motives, and a “sisters’ sonority,” as much a timbral as a melodic idea, that embodies the close rapport Jo so wishes to preserve.) But the motives neither narrate the story nor comment on it in the Wagnerian manner: they drive in the script what the renowned acting

psychological actions, closely (or barely at all) matched to the actual stage gestures, that track the progress of the characters as much if not more than do the events of the story.

I wanted these mostly tonal themes to appear and intertwine as audibly as I could make them as the opera unfolded—perhaps against an orchestral backdrop utterly distinct in texture, harmony, and line from the thematic foreground. So, for those scenes driven by language and story, rather than music and psychology, I concocted a variant of

18th-century — crisply minimal, but

in the Prologue) that not only spiked the harmonies under the non-thematic dialogue, but also gave Jo the makings of her wild storytelling sections in her Act One scena, “Perfect As We Are.” This long solo, which portays Jo’s divided feelings by disrupting her long-lined F-major cantilena with

the score’s overarching principle—that even the most disparate materials can (and should!) belong together if the dramatic design is sound.

To Nietzsche is attributed the quote: “An artist chooses his subjects; that is his way of praising.” Certainly I was surprised, as I composed an opera about people far removed in time, space, and gender from my own life, how much of my own feelings, memories, and family history found its way into Little Womena debt of gratitude to Elaine Walter, and for bringing to the stage the opera that resulted with such care and commitment, I owe a debt of gratitude to David Gockley, Christopher Larkin, ad Peter Webser; for their valuable and imaginative commentary on the opera as it developed. I thank Carlisle Floyd, John Corigliano, William M. Hoffman, Messrs Gockley and Webster, and Michael Korie; for his heroic work on the documents of this score, I thank Kent Ashcraft; and for her friendship, as well as for her unstinting support of my work, I thank Susan Carlyle; but for

in this piece, I thank above all my parents, Julie and Romeo Adamo, to whom Little Women is lovingly dedicated.

—Mark Adamo

Mark Adamo

was raised as an only child in Tennessee with grandparents back here in Colorado. In my home, I was one of three—the other two being adults. I never read Alcott’s Little Women as a young girl, and I found the idea of directing the piece for CU Opera a daunting challenge. (New York director, Rhoda Levine who directed the piece for New York City Opera was slated for the task but had to withdraw due to personal reasons.) I dived into the story with gusto and found it a piece that even an only child could understand. Jo’s sisters are her anchors. They are the “known,” the foundation, all that represent security. Jo is a girl that dreams of being an artist and dreams of travel—but at the same time is afraid of losing all that is safe and familiar to her.

I like Jo. She is a tomboy, she makes up stories and acts them out, she writes, she is not afraid to be forthright even when society tells her it is not the feminine thing to do. She is also a woman with deep emotional feeling and

Little Women is Jo versus the passage of time.” Ultimately, she must accept that things must change. Bruce Bergner, scenic designer and I sat down to discuss the piece. We both agreed that he piece was from Jo’s point of view and that we wanted to create an environment that represented all that was important to her. I knew her haven of creativity, the attic, should be the most detailed of her surroundings.

Little Women Concludes Opera Season

Opera caps its season with one more literary related production—Little Women. Based on the novel by Louisa May Alcott, this production tells a tale focused on family life, the struggles related to growing up along with all the trials and tribulations during the Civil War days.

Alcott’s story emerged on screen in the 1994 re-make staring Sarah Sarandon and Winona Ryder. Beyond the printed page and screen, this tale has been transformed into a musical presentation as well as an operatic one. In what some call an artistic “double feature,” this spring the university provided two campus-based productions of the Little Women story—CU Theater and Dance Department and CU Opera. The Theater and Dance Department presented the Broadway musical version during a four-show run earlier this April. Leigh Holman directs the CU Opera production of Little Women with Christopher Zemliauskas conducting. While our student performers may change their costumes to meet the operatic content of their current production, their passion for singing remains constant. So too does the commitment from the student performers in the pit.

Without our support and attendance, their efforts go un-rewarded. Remaining constant in our support of the arts, most especially those involving vocal music whether opera or choral, provides our students with great educational experiences. Where else will they have the opportunity to experience the diversity of performances for which they audition.

CU NOW, the next opera production audiences will enjoy, occurs June 14-16. College of Music singers in conjunction with composer Libby Larsen, will workshop excerpts from Wrinkle in Time, in the Atlas Black Box Theater prior to its full-length premier with the Fort Worth Opera. Stay tuned for next season’s CU Opera Program productions. Expect to be pleased when the announcement occurs. Just don’t look for the elephants from .

Chair, Vocal Music Advisory Board

For information about donor support or Gala details, please contact Lissy Garrison, Senior Director of Development—Music, Arts and Culture at lissy.garrison@colorado.edu, or 303-492-1749.

Also important to her: nature. The seasons. Her writing. Her sisters. Bruce proposed a brilliant design with the attic positioned as the “soul” of the environment and pages of Alcott/Jo’s writing surrounding the playing area with a “big hug”—Jo’s tight hug that just does not want to let go.

If you’ve read Little Women, relive it with Adamo’s sometimes beautiful, sometimes haunting, and always theatrical music. If you haven’t, immerse yourself in a witty, touching and at times, heart-wrenching story. Enjoy the next couple of hours with us at the theater.

Special thanks to my associate director, Chelsea Lewis, who has brought so much of her artistry and heart to this piece. She understands it on such a deep level. I am certain that I learn far more from my students than they ever learn from me.

I

CU

Inspired again. In an amazing community like ours, it’s easy to feel inspired. Thank you to our clients, business associates, and the non-profi t organizations that make our community a better place in which to live & work.

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The Company

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Michael Aiello (Friedrich Bhaer) Past roles with CU Opera: Pistola, ; Nick Shadow, ; Simone,

; Figaro (cover), ; Elder Ott, . Past roles with CU Opera New Opera Workshop: Mr. Reed,

; Guildenstern, ; Mr. Benet, . Scholarships/Honors: Dale Johnson Opera Scholarship, Barbara Doscher Graduate Voice Scholarship, Dennis Jackson Opera Scholarship. Michael is a student of Julie Simson.

Bruce Bergner (Set Design) CU Theatre/Dance faculty member since 1998. CU scene design credits include

, and . Professional design credits include over 150 shows in venues across the United States. Awards

Design, The James Ostrander Award for Best Scene Design of the Season, and Camera Eye and Ovations nominations for Best Design of Season. Bruce has designed locally at the Colorado Shakespeare Festival, Opera Colorado and the Colorado Light Opera in recent seasons. Bruce’s designs have been exhibited at the prestigious Prague Quadrennial in Czechoslovakia, at conferences with the United States Institute for Theatre Technology and at CU’s Heritage Center Museum.

Angela Born (Beth) Past roles with CU Opera: Suor Genovieffa, ; Susanna (cover), ; Barbarina, Le ; Mrs. Hayes, ; Julie (cover), .

Past roles elsewhere: Musetta, , Loveland Opera Theatre; Mimi, , Illinois Wesleyan University; Hanna, Ballymore, Illinois Wesleyan University. Scholarships/Honors: Finalist in Denver Lyric Opera Guild Competition, 2013; Recipient of Barbara M. Doscher Scholarship, 2012; Recipient of Denver Lyric Opera Guild Scholarship, 2011. Angela is a student of Julie Simson.

Kristyn Christman-McCarty (Jo March) Past roles with CU Opera: Quickly, ; Mother Goose (cover), Progress. Past roles elsewhere: Third Lady, , Hillman Opera Company, Fredonia, NY; The Voice, Les Contes d’Hoffmann- Hillman Opera Company. Scholarships/Honors: Lauren Miller Memorial Scholarship in Choral Excellence, Class of 1955 Scholarship for Excellence as a Music Educator. Kristyn is a student of Julie Simson.

Anna Engländer (Jo March) Past roles with CU Opera: Baba the Turk, ; Cherubino, ; La Ciesca, ; La Suora Zelatrice, Suor Angelica; Mezzo-Soprano soloist, Bernstein’s Mass; Mrs. Ott, Susannah. Past roles elsewhere: Suzuki, , Opera Futura in Correggio, Fiorenzuola and Cesena, Italy. Honors and scholarships: 1st Place winner, National Association of Teachers of Singing, West Central Region; University of Colorado at Boulder Anderson competition; Anthony & Dorothy Riddle Lyric Theatre Performance Prize. Anna is a student of Julie Simson.

Adam Ewing (John Brooke) Past roles with CU Opera: Gianni Schicchi, ; Count (cover), ; Celebrant, Bernstein’s Mass; Poet, (CU-NOW). Past roles elsewhere: Leander, ; Spalanzani/Schlemil, ; Elder MacLean, , Indiana University. Scholarships/Honors: Ekstrand Competition, Honorable Mention, 2011. Adam is a student of Patrick Mason.

Zac Garcia (Dashwood) Past roles with CU Opera: Keeper of the Madhouse, Father Trulove Cover, ; Elder McLean, ; Marco, ; Bartolo/Antonio, Le

; King Claudius, Dead; Maometto, ; Norton (cover), di Matrimonio. Scholarships/Honors: Anderson Competition Winner 2010 and 2011, Don and Maria Johnson Scholarship, Ritter Scholarship. Zac is a student of Patrick Mason.

(Quartet) Past roles with CU Opera: Novice, ; Chorus, . Scholarships/Honors:

Anderson Scholarship Competition Winner, 2013. Charlotte is a student of Jennifer Bird-Arvidsson.

Musical Theatre. She joined the faculty of the University of Colorado Boulder as Director of CU Opera in 2009 and is currently celebrating her fourth year of highly successful and award-winning seasons. The National

two consecutive years in the live-performed operatic scenes competition. Most recently, Holman co-directed with Paolo Panizza for Opera Futura and La cambiale di Matrimonio for the Piccolo Festival both in Northern Italy. In 2010, Holman founded CU NOW (CU New Opera Workshop) with Patrick Mason—a program pairing established composers and CU singers to produce newly composed operas. In the third summer season, they presented , an opera by Lori Laitman and David Mason based on Mason’s historical novel of the same name. In previous years they presented operatic works by Kirke Mechem, Herschel Garfein, Robert Aldridge and Daniel Kellogg. This past April, Holman was engaged at Stonybrook in New York directing Mozart’s

in a new production designed by New York scenic designer Peter Dean Beck. This past June she traveled back to Boulder to stage direct

with the Colorado Music Festival conducted by Michael Christie. In addition to directing, Holman teaches acting for singers and is the ensemble director for the CU Opera Theatre Singers. She is married to Doyle Johnson, and they have a frolicsome Border Collie/Aussie mix named Sam.

(Laurie) Past roles with CU Opera: Fenton, ; Sellem, ; Edoardo,

Matrimonio, Rinuccio, ; Don Basilio/Don Curzio, . Past roles elsewhere: Gastone, ,

Townsend Opera Players; Milkman, , Colorado Music Festival; Cascada, , Bear Valley Music Festival. Scholarships/Honors: 3rd Place, Denver Lyric Opera Guild Competition; California State University Stanislaus 2009-2010 Concerto/Aria Competition Winner, 2nd place Winner in Musical Theatre for San Joaquin Valley NATS. Max is a student of Patrick Mason.

Leigh Joseph (Meg March) Past roles with CU Opera: Meg Page, ; Barbarina, ; Suor Dolcina, ;

Ensemble, . Honors/Scholarships: Don and Maria Johnson Scholarship, Anderson Competition Winner, 2012, Classical Singer Undergraduate Competition, Regional Winner. Leigh is a student of Jennifer Bird-Arvidsson.

Kirsten Kamna (Amy March) Past roles with CU Opera: Nannetta, ; Lauretta, ; Flower Girl, .

Past roles elsewhere: Pamina, , Astoria Music Festival; Miss Wordsworth, University; Adele, Scholarships/Honors: Barbara Doscher Scholarship Recipient, Denver Lyric Opera Guild Finalist, Coeur d’Alene Young Artist Competition Winner 2011. Kirsten is a student of Jennifer Bird-Arvidsson.

Shannon Kaye (Cecilia March) CU Opera Debut! Past roles elsewhere: Second Lady, , Opera Theatre of the Rockies, Colorado Springs; First Nursemaid, , Opera Theatre of the Rockies Colorado Springs; Madame Lidoine,

, Opera Theatre of the Rockies Vocal Arts Symposium. Honors/Scholarships: Seventh Place, Denver Lyric Opera Guild; First Place, National Association of Teachers of Singing Competition. Shannon is a student of Joel Burcham.

Emily Moses (Meg March) Past roles with CU Opera: Meg Page, . Past roles elsewhere: Prince Charming, , Miami

University Ohio; Zita, , Miami University Ohio. Emily is a student of Julie Simson.

Ron Mueller (Technical Director) 15 Seasons with CU Opera. Selected past CU productions: Dead Man Walking. Other professional credits: Skylight Opera, University of Wisconsin-Milwaukee, Colorado Shakespeare Festival, Boulder Dinner Theatre.

(Alma March) Past roles with CU Opera: Quickly, ; Baba the Turk (cover), . Past roles

elsewhere: Meg Page, , American Singers’ Opera Project, Winston-Salem, NC; La Principessa, , University of Delaware Opera Theatre, Newark, DE; Prince Orlofsky, Die

, University of Delaware Opera Theatre. Scholarships/Honors: Member of Pi Kappa Lambda National Music Honor Society, Second Place in Senior Women’s Division of Delaware NATS. Halley is a student of Julie Simson.

Victoria Peña (Quartet). Past roles with CU Opera: Zulma, (Rossini scenes); Maestra de novizie,

; Street Singer, Bernstein’s Mass. Victoria is a student of Joel Burcham.

Christina Pezzarossi (Beth March) Past roles with CU Opera: Alice Ford, . Past roles elsewhere: Cathleen, , Rimrock Opera, Billings, MT. Scholarships/Honors: Viola Vestal Coulter Foundation Voice Scholarship. Christina is a student of Julie Simson.

Tom Robbins (Costume Designer) 21 Seasons with CU Opera. Selected past CU productions with CU Opera:

Colorado, Colorado Ballet.

Christian Sanders (Laurie) Past roles with CU Opera: Fenton, ; Tom Rakewell, . Past roles elsewhere:

Welko, , Santa Fe Opera; Laurie, Little Women, Opera Academy of California, San Francisco; Luiz, , San Diego Lyric Opera. Scholarships/Honors: Regional Finalist Rocky Mountain Regional MONC Auditions 2012, Winner Musical Merit Competition of San Diego 2011, National Semi-Finalist Classical Singer Magazine Competition 2011. Christian is a student of Julie Simson.

Melanie Shaffer (Quartet) Past roles with CU Opera: Laysister, ; Chorus, . Past roles elsewhere:

Dorabella, ; Dorothée, , Abilene Christian University Opera. Melanie is a student of Julie Simson.

Julie Silver (Alma March) Past roles with CU Opera: Alice Ford, ; Mrs. MacIntosh, ; Nella, Zita, ;

Suor Angelica (cover), . Past roles elsewhere: Suor Angelica, ; First Lady, ; Gertrude, , Lawrence University, Appleton, WI. Scholarships/Honors: Voice Performance Scholarship; Barbara Doscher Scholarship; Finalist, Chicago NATS 2010. Julie is a student of Joel Burcham.

Emily Sinclair (Cecilia March) Past roles with CU Opera: Donna Anna, . Past roles elsewhere: Roggiero, Tancredi, Caramoor International Festival, New York; Lucia (cover), di Lammermoor, Opera Colorado, Denver; Konstanze, Die

, Opera Company of Brooklyn, New York. Scholarships/Honors: District Winner/Regional Finalist, Metropolitan Opera National Council Auditions; Second Prize, Washington International Competition; Encouragement Award, Gerda Lissner Foundation. Emily is a student of Patti Peterson.

Adara Towler (Amy March) Past roles with CU Opera: Nannetta, . Past roles elsewhere: Susanna, ,

University of Tennessee Opera Theater, Knoxville; Badessa, , University of Tennessee Opera Theater, Knoxville.

Scholarships/Honors: 2nd place at National Association of Teachers of Singing Competition, 1st place at Knoxville Young Classical Singers Competition. Adara is a student of Jennifer Bird-Arvidsson.

Malcolm Ulbrick (Gideon March) Past roles with CU Opera: Nick Shadow (cover), ; Figaro, ; Olin Blitch, ; Billy, . Past roles elsewhere: Count Carl Magnus Malcolm, , Opera Theatre of the Rockies; Dr. Bartolo, , Music Academy of the West. Scholarships/Honors: 3rd Place National Opera Association Collegiate Scene’s Competition for Progress (Nick Shadow). Malcolm is a student of Patrick Mason.

Nicole Wilke (Quartet) Past roles with CU Opera: Choruses of .

Honors/Scholarship: Anderson Competition Winner- 2013. Nicole is a student of Patti Peterson and Jennifer Bird-Arvidsson.

Christopher Zemliauskas (Conductor) is the Assistant Musical Director of the Opera Program at CU-Boulder, where his duties include preparing singers for recital work and opera roles, collaborating with other faculty on recitals, teaching diction classes, and serving as Chorus Master for the opera productions. Mr. Zemliauskas has also been the associate conductor and chorus master for Central City Opera, where he has recently conducted performances of

, and Massanet’s .

As a co-artistic director of FusionChamber, a new music ensemble, he has conducted performances of Pierrot Lunaire by Schoenberg, and Eight Songs for a Mad King and Miss Donnithorne’s Maggott by P.M. Davies. He is also an active chamber musician in the Boulder area, plays with the Colorado Symphony Orchestra, and has been Symphony Conductor for the Boulder Youth Symphony.l

The CU Opera Program is recognized

programs of its kind in the country. Its

faculty, exceptionally gifted students, professional production standards, and, ultimately, the successful placement of students after graduation in the professional world.

BenefactorAcademy Retirement CommunityAnonymous DonorBoulder Rotary ClubAnonymous DonorRobert GrahamAnn Oglesby and Denny BrownThe Schramm FoundationAlan and Marty Stormo

SponsorDenver Lyric Opera Guild

PatronEleanor CaulkinsChris and Barbara ChristoffersenBetsy and Albert HandRobert and Mikee KapelkeAlan and Martha StormoElizabeth and George Ulbrick

graduates, and the enthusiastic support for the voice program demonstrated in audience attendance and greatly appreciated contributions.

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. There are many ways to play a leading role, and gifts of all sizes are important and appreciated. We invite you to consider our range of giving opportunities:

performance

students

To explore the role you can take in supporting CU Opera,

SupporterA FriendAnonymousPhilip and Yvonne DiStefanoJames and Sally KneserRichard And Donna MeckleyWilliam and Valorie MooneyDave and Ann PhillipsLarry and Debby PrebleLawrence Thomas and Ann Brennan Thomas

ContributorLawrence and Annette AndersonLawrence H. AndersonJason and Elizabeth BaldwinWalter and Mary-Ruth Duncan

Jeanine Forman-HamCurtis and Mary HillJames FrazierLloyd and Mary GelmanEllen and JohnGilleMyra JacksonMarion and Frank KreithHarold and Joan LeinbachPatricia and Robert MeyersPaul OzanichDan and Boyce Sher

September 1, 2011 through April 10, 2013

Attesting to its achievements, the CU Opera Program is

to hold the prestigious “Program of Excellence Award” given by the Colorado Commission on Higher Education. This rarely accorded honor places CU Opera among the most exceptional education programs in the State. It was made based on the high quality of teaching in voice, the impressive placement and career success of voice

Theodore and Ruth SmithTheresa Szczurek and Richard DavisPeter WallRochelle and Lee Woods

MemberAnonymousJudith Auer and George LawrenceKaren and William BellJudith and James BowersStephen DiltsJ. Michael DorseySteve Goldhaber and Mariana VertensteinBetsy and Albert HandJanet HanleyKuniaki and Yoshiko HataBarbara and John HillNorma and Phil HeinschelLinda JohnsonPam Jones and Mark BianchiDonald and Eleanor KingRichard and Lucretia KoeppeC. Nicholas and Mollie LeePatricia and Robert LisenskyHeidi and Jerry LynchBruce and Jeanette MackenzieJanet and T. Scott Martin

Benefactor $5,000 and above

cast members

Sponsor $2,500 - $4,999

(including CU NOW)

Patron $1,000 - $2,499

performance

Supporter $500 - $999

production

the fall or spring CU Opera production in Macky

Contributor ($250 - $499)

per Macky production, lot 380; one pass to Imig production, Euclid Avenue Auto Park)

Member $100 - $249

Preview Event

Marian MathesonByron and Catharine McCalmonDenise McCleary and Paul Von BehrenMargaret OakesRobert and Marilyn PeltzerDennis PetersonKim and Richard PlumridgeGail Promboin and Robert BurnhamSilvia RileyAlicia and Juan RodriguezStephanie and Alan RudyShaya Stillman and Dorsey DelavigneWalter TaylorJoyce ThurmerWendy and John TriggRichard and Caroline Van PeltTina and Thomas Vessels

Academy Retirement CommunityAetna Foundation, Inc.Blackhawk TrustBoulder Valley Rotary ClubColorado Academy of Lifelong LearningDenver Lyric Opera GuildFrasca Food & WineJAS VenturesPolk Family Charitable FundLouis and Harold Price FoundationThe Schramm Foundation

The following have permanentendowments established in recognition of CU Opera, its donors and its students.

Nancy and Ted Anderson Music AwardsDaryl and Lauren Boyle Music Theater ScholarshipDaryl and Lauren Boyle Voice ScholarshipDeWitt and Billie Marie Brennan Memorial Music Scholarship

Viola Vestal Coulter Foundation Voice Scholarship in Honor of Harold A. NorblomWilma and Perry Louis Cunningham Scholarship in VoiceBarbara M. Doscher ScholarshipWallace F. Fiske Performance AwardsAnn and Gordon Getty Foundation

Dennis Jackson Opera ScholarshipDale R. Johnson Opera ScholarshipLacy CU Opera EndowmentEd and Kay McDowell Opera EndowmentClaudia Boettcher Merthan Vocal ScholarshipTrudi Mielziner Graduate Opera ScholarshipCharlotte Orr Reid Memorial Vocal ScholarshipGregory Philip Ranno Excellence in Music ScholarshipAnthony and Dorothy Riddle Lyric Theater Performance PrizeWilliam Earl Rose, Sr. Scholarship FundGalen & Ada Belle Files Spencer FoundationBeth and Bill Suitts CU Opera EndowmentHoward B. Waltz Music ScholarshipPaula Marie and H. Rolan Zick Endowment

Special thanks to

Norcostco Costume Compay for providing the costumes.

University of Colorado Boulder

Jennifer Bird-ArvidssonJoel BurchamNicholas Carthy

Gregory GentryJeffrey GemmellLeigh Holman

Patrick MasonMutsumi MotekiPatti Peterson

Julie SimsonChristopher Zemliauskas

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