CU Presents Spring 2012

Suor Angelica &Gianni Schicchi

by Giacomo Puccini

March 16–18, 2012

Il Teatro Del Friuli &Rossini’s

La Cambiale di MatrimonioApril 26–29, 2012

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We will not rest

College of Music Vocal Advisory BoardLawrence AndersonMartha Coffin Evans,

chairLissy GarrisonJeffrey Gemmell

Leigh HolmanBob KapelkeMikee KapelkeGlenny LeGendre

P. Douglas McLemoreKathleen NessAnn OglesbyPatti Peterson

Shirley RiggsStephanie RudyDaniel SherReed Williams

College of MusicCollege of Music

Daniel Sher, Dean

Joan McLean Braun, Executive DirectorLaima Haley, Marketing and Public Relations Director

Marcus Turner, Interim Marketing and Public Relations DirectorMyra Jackson, Programs and Scheduling Manager

Nick Vocatura, Operations ManagerKaren Schuster, Graphic Designer

Raechel Sherwood, Online Marketing AssistantHannah Leland, Public Relations Assistant

Katie Couch, Programs and Scheduling AssistantMargaret Romero, Production AssistantAndrew Metzroth, Box Office Manager

Chris Beckstrand, Laura Chren, Starla Doyal, Melanie Shaffer, Box Office AssistantsKevin Harbison, Recording Engineer

Nancy Quintanilla, Accounting TechnicianRobert Cloutier, Piano Technician

Macky AuditoriumRudy Betancourt, Director

Angela Venturo, Associate DirectorJ. P. Osnes, Technical Director

Rhett Snyder, Associate Technical DirectorRojana Savoye, House Manager

Chelsea Ayers, Assistant House ManagerSara Krumwiede, Assistant to the Director

For tickets and information for the Artist Series, CU Opera, Takács Quartet, Holiday Festival,and all other concerts and recitals presented by the College of Music, contact us at:

Phone: 303-492-8008 Fax: 303-492-1131302 UCB, University of Colorado, Boulder, CO 80309-0302

Email: [email protected]

PhysicallyChallenged ConcertgoersSeating is available in each concert hall for concertgoers in wheelchairs, those with other special needs, and for their companions. To request special seating in advance, call the Box Office at 303-492-8008. Drop-off and handicap parking is available near Imig Music Building and Macky Auditorium.

Ticket Exchange PolicyAll sales are final. Tickets may be exchanged for another event if returned to the ticket office no later than the last business day prior to the performance. No refunds will be made for differences in ticket price, and an upgrade fee may apply. A $5 handling fee will be charged for all exchanges, except for those made by subscribers. Exchanges are subject to availability.

Latecomer SeatingAs a courtesy to the artists and to other patrons, latecomers will be seated at the discretion of house management at an appropriate interval in the program. Fire regulations require everyone, regardless of age, to have a ticket in order to enter the auditorium.

www.cupresents.org

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Pre-Concert ConversationsYou are invited to attend informative pre-concert conversations 45 minutes prior to each Artist Series performance. All talks will be held in Macky’s room 102 and are free of charge. Opera pre-performance chats will be held in the Loge of Macky Auditorium one hour prior to the show.

DiscountsDiscounts are available for seniors (65 and over), youth (18 and under) and groups. Special discounts are also available for CU faculty, staff, and students. Only one discount per order. Discounts do not apply to Holiday Festival. Some discounts not available night of performance. Please call 303-492-8008 for more information.

Location/ParkingParking is available in the Euclid Avenue Autopark and Lot 310 at a cost of $3 per evening. Lot 380 is reserved for VIP Members of the Artist Series.

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Mary Rippon Theatre

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CONCERT VENUES

Macky Auditorium - 2052 seats

Gioachino Rossini, in full Gioachino Antonio Rossini (bornFeb. 29, 1792, Pesaro, Papal States [Italy]—died Nov. 13, 1868, Passy,near Paris, France), Italian composer noted for his operas, particularly hiscomic operas, of which The Barber of Seville (1816), Cinderella (1817),and Semiramide (1823) are among the best known. Of his later, largerscale dramatic operas, the most widely heard is William Tell (1829).

Early yearsGioachino Rossini was the son of Giuseppe Rossini, an

impoverished trumpeter who played in miscellaneous bands andorchestras, and Anna Guidarini, a singer of secondary roles. At theage of 14 he entered Bologna’s Philharmonic School (now the G. B.Martini State Conservatory of Music) and composed his first operaseria—Demetrio e Polibio (1806; staged in 1812). At 15 he had learnedthe violin, horn, and harpsichord and had often sung in public. Whenhis voice broke and he was unable to continue singing, Rossini becamean accompanist and then a conductor. He had already realized theimportance of the German school of composition, perceiving the newelements by which Joseph Haydn and Wolfgang Amadeus Mozart hadenriched music.

Italian periodBy taste, Rossini threw himself into the genre then fashionable:

opera buffa (comic opera). His first opera buffa, La cambiale dimatrimonio (1810; The Bill of Marriage), was performed in Venice andhad a certain success. Back in Bologna again, he gave the cantata La mortedi Didone (1811; The Death of Dido), and he scored a triumph withthe two-act opera buffa L’equivoca stravagante (1811; The ExtravagantMisunderstanding). The following year, two more of his comic operaswere produced in Venice.

Rossini had already broken the traditional form of operabuffa: he embellished his melodies (he was the true creator of bel canto, aflorid style of singing), animated his ensembles and finales, used unusualrhythms, restored to the orchestra its rightful place, and put the singerat the service of the music. In 1812 Rossini wrote the oratorio Ciro inBabilonia (Cyrus in Babylon) and La scala di seta (The Silken Ladder),another comic opera. The same year, Marietta Marcolini, who hadalready sung in Rossini’s operas and who was interested in the youngcomposer, recommended Rossini to the committee of La Scala operahouse in Milan. It was under contract to them that he wrote La pietra delparagone (1812; The Touchstone). In its finale, Rossini—for the firsttime—made use of the crescendo effect that he was later to use and abuseindiscriminately. Venice, the most refined city in Italy, was to offer himhis true glory. After the comic opera Il signor Bruschino (1813), writtenfor the San Moisè Theatre, he next wrote—for La Fenice—his first seriousopera, Tancredi (1813), in which he tried to reform opera seria (theformula-ridden, serious operas of the 18th century), and he composed anauthentically dramatic score. This work, spirited and melodious, was aninstant success. Tancredi’s famous song, “Di tanti palpiti,” was whistled allover town. The success of L’Italiana in Algeri (1813; The Italian Girl inAlgiers) followed. These two successes opened wide the doors of La Scala.With Aureliano in Palmira (1814) he decided to prescribe and write theornaments for his arias, but the work was not a success. After L’Italianahe wrote Il Turco in Italia (1814; The Turk in Italy) for the Milanese. Hisnext work, Sigismundo (1814), was a failure.

Rossini’s fame soon spread to Naples, where the reigningimpresario was Domenico Barbaia, an ambitious former coffeehousewaiter, who by gambling and running a gaming house had amassed afortune and was now in charge of the two great Neapolitan theatres.Impressed by the terms of this contract—security, two operas a year—aswell as by Barbaia, a millionaire rather than the customary fourth-rateimpresario on the verge of bankruptcy, Rossini did not hesitate to accept.How could anyone refuse a tempting impresario whose favourite wasnone other than the imposing diva Isabella Colbran?

Colbran’s first Rossini opera, Elisabetta, regina d’Inghilterra(1815; Elizabeth, Queen of England), was a triumphant success. Rossini

Gioachino Rossini

303-492-8008

admired Colbran very much and soon fell in love with her. Thebrilliant success of Elisabetta prompted an invitation from Rometo spend the carnival season of 1816. The first of Rossini’s Romeoperas was unsuccessful as was the second, Almaviva, soon to becomeIl barbiere di Siviglia (1816; The Barber of Seville). The Romans,who knew and loved Giovanni Paisiello’s version of Eugène deBeaumarchais’s play, took a dislike to this new setting, but when itwas given elsewhere in Italy it was received with unbounded success.Written in 16 days, the work is a piece of inspired inventiveness thathas delighted opera lovers ever since. There followed La cenerentola(1817; Cinderella). In between these two comedies came Otello(1816; Othello), a setting of William Shakespeare’s play that held thestage until superseded by Giuseppe Verdi’s greater opera of the samename. La gazza ladra (1817; The Thieving Magpie), a semiseriouswork, was a triumph in Milan. Armida, a grand opera, appeared in1817. La donna del lago (based on Sir Walter Scott’s poem “The Ladyof the Lake”) failed at its premiere in 1819 but soon came into favour.After several more-or-less successful works, he left Naples for Vienna,along with Colbran (whom he had just married), anxious to meetLudwig van Beethoven. Disappointed by the economic situation ofthe composer of Fidelio, he returned to Venice, where he attempted tocrown his Italian career with Semiramide (1823). The old-fashionedVenetians, however, did not understand the astonishing work, and sohe resolved not to write another note for his countrymen and left Italy.

Parisian periodRich, married, unstable, and by nature an epicurean, Rossini

wanted to travel. He arrived in Paris in November 1823 and wasenthusiastically welcomed in the French capital. At the end of the year,he visited London, where he conducted and sang in concerts with hiswife and met King George IV. Back in Paris, then 31 years old andin his prime, Rossini composed Il viaggio a Reims (“The Journey toReims”), a cantata improvised for the coronation of Charles X. LeSiège de Corinthe (The Siege of Corinth, 1826), a revision of the earlierMaometto II (1820), was saluted by the prominent composer HectorBerlioz. Le Siège was followed by Moïse (Moses, 1827) and Le ComteOry (Count Ory, 1828), an adaptation of opera buffa style to Frenchopera.

Rossini’s final opera, Guillaume Tell (William Tell), is on thenoble themes of nationalism and liberty. The Parisian public gave himan ovation. Then he decided, at the age of 37, not to write again forthe theatre. Tell was to have been the first of five operas for the Opéra,but the new government following the Revolution of 1830 set asideRossini’s contract.

The reasons for his musical silence remain onlysuppositions. Some cite his legendary laziness as the cause, whileothers point to the Parisian hostility to his work and Rossini’s resultingsulkiness. Another cause might have been his jealousy over the Parisiansuccess of the opera composer Giacomo Meyerbeer.

In 1845, Colbran died. In 1847 Rossini married OlympePélissier. During his retirement he had written some religious pieces:the Stabat Mater (1832) and Petite messe solennelle (1864). Healso wrote a few songs and piano pieces but never agreed to theirpublication.

After a period in Italy, he returned to Paris in 1855, neveragain to leave it. Rossini gave way to the sweetness of life and to beinga wise man who permitted himself to shine in society with a few cleverexpressions and witticisms. His bons mots, in fact, are legendary, as werehis caustic wit and low humour. At his Paris home and later at his villain Passy, Rossini gave superb gourmet dinners attended by many of thegreats of the musical and literary world of the mid-19th century. Foryears Rossini was known virtually only by the omnipresent Barber ofSeville and an occasional revival of William Tell. From the 1950s moreand more of his operas were revived, particularly at festivals, and nearlyalways with public and critical acclaim.

—Excerpted from Jean-Louis Caussou

www.cupresents.org

Adapted by Patrick Mason

CAST OF CHARACTERS(in order of appearance)

Narrator Patrick MasonThe Stagehand Kirsten Kamna

From , Act I Finale Omar Malcolm UlbrickMaometto Wei WuCleomene Max Hosmer

Pamina Sarah DavisIsmene Marybeth VerchotSoldier Michael Aiello

From William Tell, Act IV trio Mathilde Haley MontoyaJemmy Raissa Johnson

Hedwiga Marybeth Verchot

From L’Italiana in Algeri Elvira Haley MontoyaZulma Victoria Pena

Isabella Anna EngländerLindoro Max HosmerTaddeo Lu Zang

Ali Michael AielloMustafa Kenny Donahue

Il teatro del Friuli will run approximately forty minutes followed by a 20-minute intermission.

Music Director Massimo TaddiaStage Director Emily Martin Moberley

Set Designer Martin Mueller-RusnakLighting Designer Jane SpencerCostume Designer Tom RobbinsTechnical Director Ron Mueller

Program Note: Il Teatro del Friuli is a tribute to the genius of Gioachino Rossini through a glimpse into his lesser-known works. Every concertgoer knows the overture to the opera, William Tell, and the hit tunes from The Barber of Seville, but Rossini’s work in general is unknown to most American listeners. We look at the brief but extraordinarily productive career of this influential composer and explore his influence on later composers such as Donizetti and Verdi. Featured are scenes from his dramatic opera, The Siege of Corinth, and his last work, William Tell. And, there will be a few surprises—after all, this is Rossini!

Gioachino Rossini

Recording devices and cameras are strictly prohibited.

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Recording devices and cameras are strictly prohibited.

Thursday/Saturday Friday/Sunday

Tobias Millo, an Italian merchant Andrea Zaupa (guest)

Fanny, his daughter Maggie Sczekan Francesca Salvatorelli (guest)

Eduardo, Fanny’s lover Max Hosmer

Slook, an American businessman Jeffrey Seppala Adam Ewing

Norton, Millo’s clerk Wei Wu Allessio D’Aniello (guest)

Clarina, Fanny’s chambermaid Marybeth Verchot Nicole Asel

Place: Pasta Millo in ItalyTime: 1950’s

La cambiale di matrimonio will run approximately one hour and fifteen minutes.

Opera in One ActLibretto: Gaetano Rossi

Co-produced with piccolo festival del friuli venezia giulia

CAST OF CHARACTERS(in order of appearance)

Gioachino RossiniLa cambiale di matrimonio

Il teatro del Friuli and La cambiale di matrimonio, April 26, 27, 28, 29, 2012

Synopsis: Local pasta merchant Tobias Millo receives a blank marriage contract from an American businessman, Mr. Slook. Although quite surprised, Millo announces to his servants Norton and Clarina that he intends to accept the contract on behalf of his daughter Fanny. When Fanny and her penniless lover Eduardo Milfort hear about this, Milfort vows to fight the situation. Slook arrives on the scene and is surprised both by the elaborate reception he receives as well as by Millo’s desire to promptly effect the marriage. Slook addresses Fanny in a duet that soon expands as Milfort joins

in to threaten him with bodily harm unless he leaves town immediately. Slook offers to pull out of the contract, but Millo feels slighted and challenges him to a duel. Slook makes Milfort his heir and signs Fanny over to him and then prepares to leave town. Fanny and Milfort are thankful, and Slook lounges around comfortably smoking a pipe. Millo, who does not yet know of the settlement, rages into the scene until all is revealed and ends in celebration.

Music Director Massimo TaddiaStage Director Emily Martin Moberley

Set Designer Davide AmadeiLighting Designer Jane SpencerCostume Designer Emmanuella CossarTechnical Director Ron Mueller

La cambiale di matrimonio is co-produced with

Co-Artistic Director Leigh HolmanCo-Artistic Director Gabriele Ribis

Music Director/Conductor Massimo TaddiaMusical Preparation Christopher Zemliauskas, Mutsumi Moteki, Allan Armstrong,

Christina Lalog, Kwok Lui, Naoko Suga Rehearsal Pianists Allan Armstrong, Christina Lalog, Kwok Lui, Naoko Suga

Stage Director Emily Martin MoberleyAssistant Director Chelsea Lewis

Opera Program Assistant Director Heather A. BeasleySet Design/ Davide Amadei

Set Design/Teatro Martin Mueller-RusnakCostume Designer for Emmanuella Cossar

CU Costume Designer for Teatro Tom RobbinsCostume Assistant Linda Walters

Costume Crew Andrea Agnew, Linda Walters, Kimberly CrawfordHairstylist Tom Robbins

Props for Emanuella CossarOpera Technical Director Ron Mueller

Assistant Technical Director Jeff RusnakStage Manager Julie Silver

Assistant Stage Manager Alixandra M. FeeleyCarpenters and Electricians Cooper Braun-Enos, Dan Sjaastad, Benjamin Smith,

Scenic Artist Jennifer MelcherDeck Crew Supervisor Jeff Rusnak

Master Electrician Cooper Braun-EnosDeck Crew Benjamin Smith, Kirsten Kamna

English Surtitles Chelsea Lewis and Massimo TaddiaEnglish Surtitle PowerPoint Chelsea Lewis

Surtitle Crew Adam Ewing, Chelsea Lewis

Orchestra

Production and Technical Staff

Administrative StaffDean, College of Music Daniel Sher

CU Presents Executive Director Joan McLean BraunOperations Manager Nick Vocatura

Marketing and Public Relations Director Laima HaleyPrograms and Scheduling Manager Myra Jackson

Graphic Designer Karen SchusterBox Office Manager Andrew Metzroth

Box Office Assistants Chris Beckstrand, Laura Chren, Starla Doyal, Melanie Shaffer Accounting Technician Nancy Quintanilla

Photography Casey A. Cass, Glenn J. Asakawa

Violin IHannah LelandBrightin SchlumpfAdrian DavisTang Tee Tong

ViolaCassandra MuellerAndrea Dobbs

CelloMathieu D’OrdineAdam Riggs

BassTyler Rusco

FluteWhitney KelleyCobus du Toit

OboeBrooke MarstonCiara Glasheen

ClarinetJessica LindseyYi-Hsin Weng

BassoonKristen Goguen

HornDerek LewisSelena Adams

www.cupresents.org

HarpsichordChristina LalogKwok Lui

The production of La cambiale di matrimonio that youwill see has been the product of a year-long collaboration withthe Piccolo Festival in the region of Friuli, Italy. In Augustof last year, four of CU’s graduate students, all hand-pickedby Piccolo Festival’s artistic director, Gabriele Ribis, traveledto Italy to study and perform the opera and sing in variousconcerts. During our five weeks in Italy, we learned so muchabout Italian culture, the Italian opera system of rehearsing andpresenting an opera, and so much more. It was the experienceof a lifetime. Tonight, this performance celebrates the unsungheroes, if you will, of Rossini’s glorious music. The first half,adapted by Patrick Mason, is a retrospect into some of Rossini’srarely performed works and then in La cambiale di matrimonioa remounting of the production our students and Italian singersperformed in theaters and villas around Northeastern Italy. themusic is delightful, and you are in for a situation comedy withall the requisite arias, funny situations, and beautiful ensemblesthat you may find in any full-length Rossini opera. Since this isof his earliest work, Rossini aficionados may even hear the budsof inspiration that he borrowed from himself to use in someof his most familiar works such as Il barbiere di Siviglia. thepace is quick, bright, and chocked full of great tunes. Pleaseenjoy Emily Martin Moberley’s restaging of this most delightfulwork. Thanks also to Mutsumi Moteki, Dean Daniel Sher, PattiPeterson, Tom Robbins, Ron Mueller, Maestro Massimo Taddia,and Heather Beasley and all of the people that spent timelesshours on this very challenging and rewarding internationalexchange of ideas.

� �

Meet Guest Music DirectorMassimo Taddia

Massimo Taddia (Music Director) was born in Bologna in 1971, andreceived degrees in Composition, Piano and Orchestra Conductingfrom the Bologna Conservatory. He also completed master classesin Orchestra Conducting with Donato Renzetti and Erwin Acel. In1997, he established the Felsina Chamber Orchestra, conductingseveral seasons in Bologna followed by tours in Spain, Austria, andFrance. In 2001 he received Honorable Mention in the Masterplayers’International Conducting Competition in Lugano, Switzerland.

From 2002 to 2007, he was the Principal Conductor of La SpeziaSymphony Orchestra. As part of that work, he served as principalconductor with the La Spezia Youth Symphony Orchestra for threeyears, preparing students and directing symphonic concerts. In theReal Colegio de Espana in Bologna, he conducted Manuel de Falla’scomplete works for chamber orchestra (El amor brujo, El corregydor yla molinera, El retablo de Maese Pedro, Noches en los jardines de Espana) also in collaboration with the Istituto Valenciano de la Musica (IVM)and the Manuel de Falla Foundation (Madrid). He visited PuertoRico, where he worked with the city’s youth symphony to performStrauss’ Blue Danube and Mozart’s “Jupiter.” In 2006-2007, he starteda prestigious collaboration with the Carl Orff Zentrum (Munchen)conducting Carmina Burana (Teatro Dal Verme - Milano, May2007), in collaboration with students at the city’s International MusicAcademy. In 2007, he became Music Director of the FondazioneTeatro G. Borgatti in Ferrara, a position he holds to the present day.That year, he also was assistant conductor to Daniel Oren, with whomhe collaborated at Teatro Carlo Felice in Genova, Fondazione Areana diVerona, and Teatro F. Cilea in Reggio Calabria.

In 2011, he began a new project and collaboration with thePiccolo Festival del Friuli in Italy (www.piccolofestival.org) andthe College of Music at the University of Colorado Boulder for theconducting of Giochino Rossini’s one act operas. Mr. Taddia is a guestartist in residence this spring at CU. He was the music director for thePuccini one-acts in March and these two Rossini one-act operas.

� �

Emily Martin Moberley

I am excited for you to watch thiscollaboration among many members ofthe University of Colorado community.

As a student in the last semester of my DMA degree, I have beengiven this wonderful opportunity to work with the students andthe incredible faculty in the opera program.

Tonight, you will see an entirely new work. Il Teatrodel Friuli is a pastiche of scenes from Rossini operas narratedby Patrick Mason. We hope to bring you on a journey tounderstand who Rossini was and why he is one of the most

important composers in the history of Italian opera. By stagingsome of these scenes in a traditional format and some of them non-traditionally, our first one-act provides the opportunity to get toknow some of the lesser works that contributed to Rossini’s success.

I am also proud to be a part of Leigh Holman’s remountingof La Cambiale di Matrimonio originally presented in Italy lastsummer. The opportunity to work with the Italian guest artistsand to see the collaboration that happened in Italy first hand is anincredible learning experience.

I would like to thank Dr. Holman for giving me thisopportunity. It is a rare occurrence for a DMA student to directand work on a production from start to finish, and it has been avaluable experience. I hope you enjoy the show.

Another result of the on-going CU-Friulicollaborative is Maestro Taddia’s position here thisspring as guest artist in residence. This March, he wasthe visiting conductor/music director for the operaprogram productions of two parts (Suor Angelica andGianni Schicchi) of the Puccini trilogy Il Trittico.

The Rossini presentation of La Cambiale diMatrimonio will be preceded by an original operaticadaptation by CU faculty member, Patrick Mason. IlTeatro del Fruili provides a farcical backstage look at thelife of an operatic production.

Another original work is headed towardBoulder for its “CU Now” program. Ludlow, scheduledto be workshopped June 1-3, is the combined effortof composer Lori Laitman and award-winning poetDavid Mason. CU New Opera Works (“CU Now”)productions take place in the Roser ATLAS building.Musical exchanges and collaborative efforts bring aboutwonderful presentations. We hope you enjoy theinternational and local aspects of them all.

Sincerely,

Martha (Marty) Coffin Evans, Ed.DChair, Vocal Music Advisory Board

(Individuals interested in providing further support forour CU Opera program should contact Lissy Garrison,Director of Development, at 303-492-6291.)

effort involving students at the University of Coloradoand professional Italian singers.

In August, 2011, four CU-Boulder students,accompanied by Opera Studies Director LeighHolman, traveled to Italy to participate in the PiccoloFestival in the Friuli region of Italy. Rossini’s one-actopera, La Cambiale di Matrimonio, became the vehiclefor this exchange.

This spring, CU singers Megan Mahlberg,Nicole Asel, Jeffrey Seppala, and Wei Wu are reprisingtheir roles from last summer’s production in Italy.They will be joined by several of the Italian singersalong with Maestro Massimo Taddia. As is thetradition with CU’s opera, there will be a double castfor the four performances. For this production, EmilyMartin Moberley, CU opera degree candidate (DMA2012) exchanged the guest stage director role withLeigh Homan who is performing in that capacity atStonybrook in New York.

Special thanks to

University of Colorado Boulder

Jennifer Bird-ArvidssonJoel BurchamNicholas Carthy

Mary Kay GestonJeffrey GemmellLeigh Holman

It’s a different exchange

Exchange programshave existed for a period oftime whether for high school,college students or groups.This spring opera productionprovides the audiences witha different type of exchange.This time, the focus is on acollaborative, international

Patrick MasonMutsumi MotekiPatti Peterson

Julie SimsonChristopher Zemliauskas

Michael Aiello (Ali, Il teatro del Friuli).Past roles with CU Opera: Simone,Gianni Schicchi; Figaro (cover), Le nozzedi Figaro; Elder Ott, Susannah; Ensemble,Carousel; Guildenstern, Rosencrantz andGuildenstern are Dead, CU NOW 2011.Scholarships/Honors: Dennis JacksonOpera Scholarship, University ChoirsScholarship. Michael is a student of PattiPeterson.

Alessio D’Aniello—Italian guest artist(Norton, La cambiale di matrimonio) studied singing at the S. Pietro a MajellaConservatory of Music in Naples. Roles:Cardinal Filomarino in Tato Russo’smodern opera Masaniello over a two-yeartour including houses in Naples, Rome,Milan, Torino, and Trieste; Caronte, ConteUgolino, St. Thomas in the modern operaDivina Commedia by Marco Frisina on anItalian tour; L’impresario and Biscromain Le convenienze e inconvenienze teatraliby Donizetti on tour throughout Italyand Poland. In October 2011, he sangthe baritone solos in Fauré’s Requiemperformed at the Cathedral of Monreale,Sicilia.

Nicole Asel (Clarina, La cambiale dimatrimonio). Past roles with CU Opera:Nettie, Carousel; Mrs. Gibbs, Our Town; Florence Pike, Albert Herring; DesireeArmfeldt, A Little Night Music. Past roleselsewhere: Cherubino, Le Nozze di Figaro; Martina Arroyo Foundation, Jo March,Little Women, UNCG Opera Theatre;Flora, La Traviata, Opera Carolina.Awards and honors received: Finalist,Rocky Mountain Regional MetropolitanOpera National Council Auditions;Finalist, 2010 Denver Lyric Opera GuildCompetition; Recording as Jo March,Little Women, in the G. Schirmer OperaSampler, released, 2005.

Angela Born (Elvira, Il teatro delFriuli). Past roles with CU Opera: SuorGenevieffa, Suor Angelica, Barbarina/Susannah (cover), Le nozze di Figaro; Mrs.Hayes, Susannah; Julie (cover) Carousel.

The Company

(cover), Le Nozze di Figaro; Celebrant,Bernstein’s Mass; Mr. Bascomb, Carousel.Roles elsewhere: Leander, A Love for ThreeOranges; Spalanzani/Schlemil, Les contesd’Hoffmann; Elder MacLean, Susannah, Indiana University. Scholarships/Honors:Ekstrand competition honorable mention,2011. Adam is in the voice studio of PatrickMason.

Max Hosmer (Cleomene and Lindoro, Ilteatro del Friuli, Eduardo, La cambiale dimatrimonio). Past roles with CU Opera:Rinuccio, Gianni Schicchi, Basilio/DonCurzio; Le Nozze di Figaro. Roles elsewhere:Count Danilo, The Merry Widow, TownsendOpera Players/CSU Stanislaus; Cascada, TheMerry Widow, Bear Valley Music Festival;Papageno, The Magic Flute, Townsend OperaPlayers/CSU Stanislaus. Scholarships/Honors: Winner, CSU Stanislaus Concerto/Aria Competition, 2009-2010; 2nd placeMusical Theatre II, San Joaquin ValleyNATS, 2010. Max studies with PatrickMason.

Raissa Johnson (Jemmy, Il teatro del Friuli. Past roles with CU Opera: Sister Osmina/LaPrima Cercatrice, Suor Angelica, Ensemble,Le Nozze di Figaro; Susannah, Carousel; Charlotte Lucas, Pride & Prejudice, CUNOW 2011. Roles elsewhere: Fruma Sarah,Fiddler on the Roof, Jamestown College.Scholarships/Honors: Anderson ScholarshipCompetition Winner 2010, Adopt-a-Student Scholarship, Outstanding FreshmanMusic Student 2009-2010. Raissa in in thevoice studio of Patrick Mason.

Kirsten Kamna (Rosina, Il teatro del Friuli).Past roles with CU Opera: Lauretta,Gianni Schicchi; First Flower Girl, Le Nozzedi Figaro. Past roles elsewhere: Adele,Die Fledermaus; Miss Wordsworth, AlbertHerring, Pacific Lutheran University.Scholarships/Honors: Barbara DoscherScholarship. Kirsten is in the voice studio ofJennifer Bird-Arvidsson.

Past roles elsewhere: Mimi, La Bohème; Hanna, Ballymore, Illinois WesleyanUniversity Scholarships/Honors: DenverLyric Opera Guild Scholarship, Adopt-A-Student Scholarship, Hope Ellen PapePresident’s Club Award, Henry CharlesMemorial Concert Concerto-Aria Finalist.Angela is in the voice studio of JulieSimson.

Sarah L. Davis (Pamina, Il teatro delFriuli). Past roles with CU Opera: SuorAngelica, Suor Angelica, Lady Billows,Albert Herring; Mrs. Webb, Our Town; Queen, Rosencrantz and Guildenstern areDead, Mrs. Bennett, Pride and Prejudice, CU NOW 2011. Past roles elsewhere:Ilia, Idomeneo, Helena, A MidsummerNight’s Dream, Boston University OperaInstitute; Anna, Nabucco, Utah FestivalOpera. Scholarships/Honors: 2010Second Place, NATS West Central Region;Mu Phi Epsilon, Delta Rho Chapter, 2010scholarship winner; Pi Kappa Lambdamember. Sarah is a student of PatrickMason.

Kenny Donahue (Mustafa, Il teatro delFriuli). Past roles with CU Opera: Betto,Gianni Schicchi, Bartolo and Antonio, LeNozze di Figaro; The Player, Rosencrantzand Guildenstern are Dead (CU NOW);Balthazar, Amahl and the Night Visitors(First United Methodist, Boulder). Kennyis in the voice studio of Patrick Mason.

Anna Engländer (Isabella, Il teatro delFriuli). Past roles with CU Opera: Lasuora Zelatrice, Suor Angelica; La Ciesca,Gianni Schicchi; Cherubino, Le nozze diFigaro; mezzo-soprano soloist, Bernstein’sMass; Mrs. Ott, Susannah; Alfred,Rosencrantz and Guildenstern are Dead, CUNOW 2011. Scholarships/Honors: CUBoulder Anderson Scholarship; 1st place:NATS West Central Region. Anna studieswith Jennifer Bird-Arvidsson.

Adam Ewing (Slook, La cambiale dematrimonio). Past roles with CU Opera:Gianni Schicchi, Gianni Schicchi, Count

www.cupresents.org

The Company

Haley Dove Montoya (Mathilde,Il teatro del Friuli). Past roles withCU Opera: Nella, Gianni Schicchi,Marcellina, Le Nozze di Figaro; Mrs.Hayes (cover), Susannah; Jane, Prideand Prejudice, CU NOW 2011. Haleyis in the voice studio of Patti Peterson.

Ron Mueller (Technical Director) 14Seasons with CU Opera. Selected pastCU productions: La Traviata, WestSide Story, Dead Man Walking. Otherprofessional credits: Skylight Opera,University of Wisconsin-Milwaukee,Colorado Shakespeare Festival, BoulderDinner Theatre.

Tom Robbins (Costume Designer) 20Seasons with CU Opera. Selected pastCU productions with CU Opera: DonGiovanni, Anything Goes, Susannah,Carousel. Other professional credits:Bonfil’s Theater, Opera Colorado,Colorado Ballet.

Francesca Salvatorelli—Italianguest artist (Fanny, La cambiale dematrimonio)

Maggie Sczekan (Fanny, La cambialedi matrimonio). Past roles with CUOpera: Suor Genevieffa, Suor Angelica,Susanna, Le nozze di Figaro. Pastroles elsewhere: Christine, Phantom, Boulder’s Dinner Theater; Dorothée,Cendrillon, Oberlin Opera Theatre;Barbarina, Le nozze di Figaro, Oberlinin Italy. Scholarships/Honors: Galenand Ada Belle Files Spencer Fellowship;Dean’s Merit Scholarship at OberlinConservatory of Music. Maggie studieswith Jennifer Bird-Arvidsson.

Jeffrey Seppala (Slook, La cambiale dimatrimonio) Past roles with CU Opera:Conte, Le Nozze di Figaro; Darcy, Prideand Prejudice, Laertes, Rosencrantzand Guildenstern are Dead, CU NOW2011. Scholarships and honors:Regional Finalist in Metropolitan

Opera Competition, 2011; First Prize,Tri-Cities Opera Competition, 2007.

Malcolm Ulbrick (Omar, Il teatro delFriuli). Past roles with CU Opera: BillyBigelow, Carousel. Past roles elsewhere:Gaston, Beauty and the Beast, ColoradoSprings Fine Arts Center; Henry Davis,Street Scene, Chorus, Carmen, Bass Manin Armor, The Magic Flute, Opera Theatreof the Rockies; Figaro, Le Nozzi di Figaro, Colline, La Bohème, and Ozzie, On theTown, Vocal Arts Symposium at ColoradoCollege; Soloist, Mozart’s Requiem, Colorado Springs Chorale, Madrigal Choirmember, China and Italy tour.

Marybeth Verchot (Amenaide, Hedwiga,and Ismene, Il teatro del Friuli; Clarina, Lacambiale di matrimonio). Past roles withCU Opera: La Badessa, Suor Angelica,Cherubino (cover), Le Nozze di Figaro; Mrs. Ott, Susannah. Past roles elsewhere:Second Lady, Die Zauberflöte; Mother,Amahl and the Night Visitors; Edith, ThePirates of Penzance, University of Alabama

at Birmingham. Scholarships/Honors: Berton Coffin VoiceScholarship. Marybeth is in thevoice studio of Jennifer Bird-Arvidsson.

Wei Wu (Maometto, Il teatrodel Friuli, Norton, La cambialedi matrimonio). Past roles atCU Opera: Notary, GianniSchicchi; Figaro, Le Nozze diFigaro; Leporello, Don Giovanni; Olin Blitch, Susannah. Pastroles elsewhere: Duke Tom, Unballo in Maschera; Ferrando, IlTrovatore, China National Opera.Scholarships/Honors: MetropolitanOpera National Council AuditionsRegional Finalist 2012; TheDiamond Wendelboe MemorialAward (Colorado/WyomingDistrict); Denver Lyric Opera GuildWinner 2009. Wei is in the voicestudio of Julie Simson.

Lu Zang (Taddeo, Il teatro del Friuli). Pastroles with CU Opera: Gianni Schicchi, GianniSchicchi; Count, Le Nozze di Figaro. Past roleselsewhere: Capulet, Romeo et Juliette; GianniSchicchi, Gianni Schicchi; Guglielmo (cover),Così fan tutte, Boston University. Scholarships/Honors: People Scholarship, ShanghaiConservatory of Music; CFA Merit Scholarship,Boston University. Lu studies with PatrickMason.

Andrea Zaupa—Italian guest artist (TobiasMillo, La cambiale di matrimonio) debut asTaddeo in L’Italiana in Algeri. Past roles include:Don Pasquale, Don Pasquale at the TeatroComunale of Bologna, Muftì in Le BourgeoisGentilhomme for Italian National Radio;Schaunard, La Bohème; Dulcamara, L’Elisird’Amore; Fabrizio, La Gazza Ladra at the TeatroComunale of Bologna; Gaudenzio in Rossini’s IlSignor Brushino at the Wexford Opera Festival.Other past roles: Don Giovanni, Masetto andIl Commendatore, Don Giovanni; Dandini, LaCenerentola; Uberto, La Serva Padrona; Nardo,Il Filosofo di Campagna. In November he willdebut Sharpless in Madame Butterfly.

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An Invitation: Join the Tradition of ExcellenceThe 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.

Attesting to its achievements, the CU

BenefactorAnn Oglesby and Denny BrownAlan and Marty Stormo

SponsorDebby and Larry Preble

PatronEleanor CaulkinsChris and Barbara ChristoffersenRobert GrahamBetsy and Albert HandRobert and Mikee KapelkeStanley LanzanoElizabeth and George Ulbrick

SupporterAnonymousGary Berg and Karen McMurryDeen ButtorffMark and Margaret CarsonStephen DiltsPhilip and Yvonne DiStefanoWalter and Mary-Ruth DuncanEllen and John Gille

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, please contact our Development Office at 303-735-6070.

Herta Hess KahnJames and Sally KneserDenise McCleary and Paul Von BehrenRichard and Donna MeckleyLouise Pearson and Grant CouchDave and Ann PhillipsLawrence Thomas and Ann Brennan Thomas

ContributorLawrence and Annette AndersonLawrence H. AndersonAnonymousDonna and Ken BarrowMarty Coffin Evans and Robert TremblyColleen and Terry ConantCharles and Eleanor DePuyHarold and Joan LeinbachAnnyce MayerPatricia and Robert MeyersPaul OzanichTheresa Szczurek and Richard DavisTheodore and Ruth SmithElizabeth Litkowski and Richard ReevesCynthia and Paul SchauerRochelle and Lee Woods

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Opera Program is among the elite few and first performing arts discipline 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 graduates, and the enthusiastic support

MemberAnonymousKaren and William BellSheila BiseniusJudith and James BowersRobert Burnham and Gail PromboinDorsey Delavigne and Shayna StillmanZetta FederJames FrazierMary and Lloyd GelmanEllen and John GilleHazel HanleyJanet HanleyKuniaki and Yoshiko HataNorma and Phil HeinschelLinda JohnsonRichard and Lucretia KoeppeMarion and Frank KreithGladeane and Gregory LefferdinkPatricia and Robert LisenskyLone Eagle, Inc.James Terry FrazierCharles and Heidi LynchBruce and Jeanette Mackenzie

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2012-2013 SeasonAnnouncement

Save These Dates!

by StravinskyOctober 26 at 7:30 p.m.October 28 at 2 p.m.Macky Auditorium

by VerdiMarch 15 at 7:30 p.m.March 16 at 7:30 p.m.March 17 at 2 p.m.Macky Auditorium

To Be DeterminedApril 25 at 7:30 p.m.April 26 at 7:30 p.m.April 27 at 7:30 p.m.April 28 at 2 p.m.Music Theatre

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303.447.0210

WE’LL BE SEEING YOU!

20% OFFSOME EXCLUSIONS APPLY

Expires 5/31/2012

Shorter hospitalization. Faster recovery.

DA VINCI HYSTERECTOMY IS A BETTER APPROACH FOR YOUR BUSY LIFESTYLE

Visit www.bch.org/hysterectomy for more patient stories.

Jane Glotzer has been a dancer her whole life. When she needed a hysterectomy, she put it off because of the lengthy recovery required by traditional surgery. Then she learned about the potential benefits of minimally invasive robot-assisted surgery at Boulder Community Hospital — a shorter hospital stay, a quicker recovery, less scarring and less pain.

Just two weeks after surgery, Jane was able to dance again. If you need a hysterectomy, please talk to your physician about whether robotic surgery may be right for you.

Surgeons performing da Vinci hysterectomy at BCH include: Lisa Lepine, MD, 720-382-2621 Terri Rosenbaum, MD, 720-854-7400 Kerry Shea, DO, 303-441-0587

CU Presents Spring 2012

Documents

Transcript of CU Presents Spring 2012