2014 Rigoletto Program

MARCH 15 • 18 • 21 • 23

RIGOLE T T O ELLIE CAULKINS OPERA HOUSE 2014

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FROM THE GENERAL DIRECTOR AND CHAIRMAN OF THE BOARD

WELCOME TO THE 2014 SEASON I

t is always a pleasure to welcome you to another season of exhilarating opera performances at Opera Colorado. We have an exceptional 2014 season planned for you and we thank you for your generous support and enthusiasm. You make everything we do possible.

Over the past twelve months we have been working diligently to restructure Opera Colorado, positioning it for long-term financial viability and artistic achievement. We have embraced significant challenge and made many difficult decisions, all of which have proven successful in stabilizing our financial health and allowing us to plan exciting programming for future seasons.

During the 2014 season we will rediscover two timeless classics, Verdi’s Rigoletto and Bizet’s Carmen.

Both productions feature world-class casts led by extraordinary directors and conductors. In keeping with our artistic vision, Rigoletto will be presented in an opulent classic production while Carmen will take a fresh, stark look at the sexually charged and ultimately violent relationship between the sultry Carmen and the increasingly reckless Don José. This is truly a season of great drama filled with all the defining elements that make a compelling opera experience: lust, revenge, obsession and murder. What more could you want?

While our productions at the Ellie Caulkins Opera House are the most recognized part of Opera Colorado, we also present Education and Community Engagement Programs which reach over 35,500 students of all ages throughout the Denver Metro Area and Rocky Mountain Region. Opera Colorado’s Young Artists are at the heart of these programs, presenting our tour productions of Romeo and Juliet and The Barber of Seville in schools and community centers from Cheyenne, Wyoming to the western slopes of Colorado.

This season you will have the opportunity to hear our Young Artists featured in both Rigoletto and Carmen.

As we bring together extraordinary singing artists, conductors, directors, designers and the Opera Colorado Orchestra and Chorus for productions in 2014, we invite you to join us as we are transported to the exhilarating world of grand opera.

Thank you for making Opera Colorado an important part of your life.

Greg Carpenter General Director

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Michael Hughes Chairman

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OPERA IN THE CLASSROOM

UNEXPECTED CONNECTIONS

By Cherity Koepke

O

pera Colorado’s vibrant and impactful array of education programming reaches more than 35,500 students of all ages each season and includes everything from touring performances in schools, to programs at the Ellie Caulkins Opera House and our inschool residency program Generation OC. We’re sharing the magic of opera in every way possible – however sometimes in order to do so we have to sneak in the back door. As hard as it is for those of us who love opera to believe, not everyone is open to the idea of bringing it into the classroom. There are some roadblocks that we have to navigate and Opera Colorado offers a special program just for these situations: In-School Workshops.

Each year, Opera Colorado enters classrooms to give workshops on a wide variety of subjects, some of which you would expect (teaching choirs, performance skills, vocal projection or opera history) and some unexpected ones, workshops that seem to defy logic. These include understanding gender stereotypes, Shakespeare, and even bullying and teambuilding. “Why is Opera Colorado teaching workshops on this?” you may be asking. The answer might actually surprise you. First, we’re building audiences for the future and we will utilize any opportunity to expose students to opera. Second, as one of the most collaborative art forms, opera offers connections with almost any subject matter or curriculum. Here are some of the unexpected workshops we offer, making connections with opera.

Gender Stereotypes: Believe it or not, we regularly receive requests for this workshop. It connects directly to opera’s history. If you look at a timeline of opera, it’s always been somewhat of a rule breaker and has faced tremendous stereotypes – some continue to this day (think of the woman in the horned hat). In spite of these obstacles, opera has endured and continues to challenge people’s perceptions.

In opera we broke the ultimate gender rule by putting women on 8

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stage. We even put them in pants singing the role of a man! Students connect with the idea of challenging rules. By talking about opera’s history, its present and its future, we facilitate an honest conversation about stereotypes and how they impact our world.

Understanding Shakespeare: Let’s be honest…Shakespeare isn’t always easy to understand. That’s where one of our most popular workshops comes in. We use opera to help students understand emotions that they aren’t grasping through the text. Since Shakespeare and opera have a strong connection, we compare the text of the play with samples of the opera. Opera clearly portrays human emotions; students can easily grab onto the big ideas and this increases their overall level of comprehension. Romeo and Juliet

by Gounod is a favorite workshop because much of the libretto was taken directly from Shakespeare’s play.

Bullying and Teambuilding: Wait…What? That’s right. Opera Colorado conducts In-School Workshops each season on these two topics.

It’s actually a natural fit because of the nature of opera. There are countless plots that address choices and consequences (which are at the core of bullying), and it’s usually done in a way that is over the top and impactful. Think about Lucia’s madness and what caused it.

What about Don José and Carmen? Their choices affected not only their lives, but everyone around them. Opera plots are powerful and when paired with music, they evoke strong opinions. That’s what we want – students to engage in meaningful conversation. By looking at these stories, students talk about issues they are facing in an expressive way, removed enough from reality to foster a safe environment for discussion.

When they realize that opera inspires them, there’s a lasting connection to the art form.

For teambuilding, we use the business of opera to teach students about working together. To establish a respectful, even playing field, we do some role playing. Students are placed into teams, which become an opera company faced with the challenge of presenting a production – organizing everything from marketing to development and more. To accomplish their assignment, students must stay organized, meet deadlines and communicate regularly. Often, they are surprised by what they accomplish as a team.

The next time you hear about Opera Colorado workshops that sound odd or unrelated, rather than asking “why?” ask yourself “why not?” Sometimes we reach students through obvious connections, while other times we must think outside the box to find relevance in less obvious ways. This incredible art form not only entertains, it educates. Opera offers a gateway into far more than we can imagine and we want everyone to experience it.

Edited by Rachel Perez

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CARMEN

MAY 3 | 6 | 9 | 11 2014 ROBERT WOOD, CONDUCTOR KATHLEEN BELCHER, DIRECTOR ALSO STARRING

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WHENCE

CARMEN?

By Betsy Schwarm

... SHE, LIKE ALL WOMEN AND CATS, WHO WON’T COME IF YOU CALL THEM, AND DO COME IF YOU DON’T CALL THEM...

T

he title Carmen may refer to either of two great examples of the creative arts: the novella

by French author Prosper Mérimée (1803-1870) or the opera by French composer Georges Bizet (1838-1875).

The novella came first, in 1845; the opera followed thirty years later, premiering at the Paris SANDRA PIQUES EDDY AS CARMEN Opéra-Comique March 3, 1875, exactly three months before its composer’s death from a heart condition. In basic concept, the stories are strongly similar.

Each has a fiery gypsy woman who works in a cigarette factory and counts a number of smugglers amongst her acquaintance. Each has a young army officer who walks away from his military service to be with that title character. Each has a charismatic bullfighter who acquires, if not Carmen’s whole heart, at least her temporary attentions. In both cases, the leading lady perishes when the young army officer, having failed to regain her affection, takes her life. To that point, the two Carmens are the same basic tale.

However, in crafting the opera’s text, Bizet’s librettists, Henri Meilhac and Ludovic Halévy, made significant changes in the interest of dramatic flow and operatic practicalities. In Mérimée’s version, the dramatic incidents are related to an outside observer by the young army officer, who here has a last name, too, not just “Don José,” but “Don José Lizzarrabengoa.” Everything has happened in the past, and we are only hearing of it second hand through the narrator.

Meilhac and Halévy recognized that such an approach would never work on the stage, for the audience would both need and want to see the action.

Additionally, they judged that no opera would pass muster with only one prominent female character. Moreover, they reasoned that with a cast that included a woman of loose morals, a man who becomes a murderer, and another man who has little to recommend himself other than his bravery in the bullring, the story lacked opportunity for softer music – not to mention likeable personalities. So they added Micaela, the hometown sweetheart of Don José, whom he abandons

to take up with Carmen. The opera’s vision of her comes directly from Mérimée. The novelist did not include a Micaela in his story, but he does have Don José describe the girls of his home region of Navarre as having “blue skirts and long plaits of hair.” Michaela is almost always costumed in exactly that way, and her music makes her a tender soul, so one may imagine that Mérimée would be satisfied with her addition.

Others of Mérimée’s lines carry over into the opera, if not in specific wording, at least in the gist of the thought. José admits to being “rather afraid of the Andalusian women,” with their “mingled sensuality and fierceness.” So when he first sees Carmen at her sultry best, he pretends not to notice her, which is exactly how the scene plays out in the opera. Furthermore, in describing that afternoon to his passive listener, José remarks wryly of Carmen, “she, like all women and cats, who won’t come if you call them, and do come if you don’t call them, stopped short in front of me and spoke to me.” So it happens, too, in the opera.

Later in Mérimée’s tale, José observes “Indeed, nothing that she did ought ever to have astonished me.” The operatic José never expresses such a view, though indeed, one can hardly help wishing that he might have been so wise. Of course, if he were so wise, he would have walked away and the drama would have suffered by the change. Mérimée had crafted a work electric in its dramatic potential. It is much to Bizet’s credit that he recognized its operatic potential.

Betsy Schwarm is the author of Operative Insights.

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A LOOK INSIDE OPERA COLORADO’S YOUNG ARTIST RESIDENCY

By Brett Sprague

B

eing a young opera singer in today’s world is not easy. For those of us with the dream and the drive to break into the business of opera, our 20s can be a wildly exciting and equally frustrating time. After spending the better part of a decade in college and graduate school, we look to opera companies’ young artist programs to help us on our path to a performing career. Opera Colorado gave us that opportunity by hiring us as their 2014 Young Artists. A busy and thrilling time, our five-month residency began January 2nd and we spent the first two weeks preparing our touring operas, abridged versions of The Barber of Seville and Romeo & Juliet, both sung in English.

Beyond the necessary musical and staging rehearsals, we took the pieces apart to understand them dramatically and emotionally. We laughed and cried together, and what happened to the shows as a result was amazing. We inhabited the operas in a way that made them real to us, and hopefully to our audiences as well.

Along with our touring shows, Opera Colorado gives us the rare and thrilling opportunity to sing supporting roles alongside today’s opera stars in mainstage productions of Rigoletto and Carmen. Beyond the experience of sharing the stage, the invaluable opportunity to rehearse with and learn from artists we admire helps us to navigate our future. In May, we will assume leading roles in Carmen for a sold-out audience of students in the Ellie Caulkins Opera House.

Most companies do not give young artists an opportunity like this.

This residency challenges each of us as artists and as people. We learn from our experiences, our mentors and each other. I know I speak for my fellow Young Artists when I say that we couldn’t be happier to be a part of Opera.

Everyone in this company is fiercely supportive and wants the best for us. Our General Director Greg Carpenter and Artistic Advisor Ari Pelto invest their time and talent in our development. I’ve never been involved with a company where these types of leaders invested so much in their Young Artists. We have a world-class director, Cherity Koepke, and a top notch collaborative pianist, Taylor Baldwin. Together, this Many Young Artist programs team guides us on our quest have outreach shows for artistic and self-discovery; that attempt to teach kids they expect excellence and about opera, but instead give us all the support we of featuring an abridged YOUNG ARTISTS PERFORMING THE BARBER OF SEVILLE need. As for my colleagues, opera, they consist of arias L-R COLLEEN JACKSON, BENJAMIN SIEVERDING, JARED GUEST, BRETT SPRAGUE AND LOUISE ROGAN Colleen, Louise, Jared and and musical theater songs Ben, I am lucky to work and mixed together. Some young artists see outreach as a necessary burden or rite of passage. live with these magnificent people. This is an exciting time for us, and However, the opposite is true at Opera Colorado. We enjoy we couldn’t be more fortunate to work for this sensational company. bringing real operas to the people of Colorado, enabling them to enjoy spectacular opera in an authentic way. We show kids at A FEW QUESTIONS FOR BRETT age five that opera is fun and exciting, just like the other forms of entertainment they see every day. When we perform Romeo & What’s a typical day like performing touring shows?

Juliet, we show apprehensive high school students that opera isn’t Days typically begin with an early wake up call and a drive to our a stuffy, outdated art form, but rather an honest expression of the location. When we arrive at the performance venue, we unpack the human condition. Why do we do this? To build a new audience for sets, costumes and props, which we store in the company SUV. We the future of opera. It is our job, as the next generation of singers, perform in school theaters, gyms, cafeterias, community theaters to build an audience for our future. and classrooms. This presents us with a new challenge every day 14

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THE MARRIAGE OF FIGARO | DEAD MAN WALKING THE SOUND OF MUSIC in denver At ellie cAulkins operA house

Tickets start at just $20. See all three shows and save 20%!

June 28 - August 10 303.292.6700 | CentralCityOpera.org

You won’t know until you go.

IF YOU ARE INTERESTED IN SPONSORING A YOUNG ARTIST AND WOULD LIKE MORE INFORMATION, PLEASE CONTACT OPERA COLORADO’S YOUNG ARTIST DIRECTOR CHERITY KOEPKE AT 303.778.0371.

because we build our set at each location. As much as we would like to focus entirely on the performance, we also are our own road crew. After the performance we repack the set into the SUV. Although being our own road crew can add to an already taxing day, it gives us a greater appreciation for the whole production. In a Q & A session after each performance, people enjoy hearing about our rehearsal process and our reasons for pursuing a performance career. This discussion humanizes us to our audience and makes opera more accessible, especially to high school students.

What’s one of the biggest challenges of being a young artist?

Of course, we love what we do, but being a young artist presents many difficult challenges. Each year we spend thousands of dollars applying for and flying to New York for auditions in hopes of garnering offers to participate in young artist programs or other opportunities.

Even if we are lucky enough to receive a consistent, decent wage offer, it doesn’t last very long. Most contracts range from three to 12 months. This generally means a lot of moving around for us. I am fortunate to have great friends all over the United States, but it’s hard to constantly move. Often we miss the opportunity to visit family on holidays because work during that time of the year proves very lucrative for us. Many of us have to work in food service or

administration to supplement our income. For example, I used to work for Starbucks as a barista. Even some of the better paying young artist programs don’t offer enough income on which to live and pay our student loans. Fortunately Opera Colorado provides housing for us during our residency. In the shrinking world of America opera, programs like this are essential to our growth and maturation as artists. Each year young artist programs are closing their doors due to financial instability and a lack of donor support.

If we want a society where live opera continues as a relevant part of our culture, we have to prevent this from happening. Pursuing a career in any field in our current economic climate is challenging, and being an aspiring opera singer is no exception. Young Artists are the future of this art form, and require the financial and personal support of the public. We need audiences of all ages to support us and we need companies, like Opera Colorado, to continue to provide opportunities for growth. The only way this will happen is through donations and ticket sales. I love opera and think it is an essential art form for our culture. I will do everything in my power to keep it alive and growing and I hope opera lovers throughout this country will do the same.

Edited by Rachel Perez

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RIGOLETTO MARCH 15 • 18 • 21 • 23, 2014 ELLIE CAULKINS OPERA HOUSE Opera in Three Acts

By Giuseppe Verdi Libretto by Francesco Maria Piave There will be two intermissions. The first intermission will be 25 minutes and the second one will be 20 minutes.

CAST I N OR D E R OF VOCAL APPEARANCE

The Duke of Mantua Rene Barbera* Borsa Brett Sprague^* The Countess Ceprano Colleen Jackson^* Rigoletto Gordon Hawkins* Count Ceprano Benjamin Sieverding^* Marullo Jared Guest^ Count Monterone Stefan Szkafarowsky Sparafucile Stefan Szkafarowsky Gilda Rachele Gilmore* Giovanna Louise Rogan^* A Page Louise Rogan^* A Herald Antoine Hodge Maddalena Dana Beth Miller Opera Colorado Orchestra Opera Colorado Chorus Conductor Stage Director Chorus Master Lighting Design Wig and Makeup Design

SCENERY DESIGNED BY SARAH J . CONLY

&

Leonardo Vordoni* Bernard Uzan John Baril Donald Edmund Thomas* Ronell Oliveri

MICHAEL DEEGAN FOR THE ATLANTA OPERA

MADE AVAILABLE THROUGH UTAH SYMPHONY COSTUMES DESIGNED FOR UTAH SYMPHONY

T HE

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&

OPERA

OPERA BY SUSAN MEMMOTT ALLRED

PRE - PERFORMANCE LECTURE IS PRESENTED BY MUSIC HISTORIAN SPONSORED BY

F AIRFIELD

AND

W OODS , P.C.

B ETSY S CHWARM

*Opera Colorado Debut ^Opera Colorado Young Artists

R I G O LETTO •

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M R . AN D M R S . K E N N ETH T. B AR ROW | 2014 S EASON S P ON SOR Leonardo Vordoni, Conductor Appearance made possible by a generous gift from Mike and Julie Bock Benjamin Sieverding, Young Artist Sponsored by Marlis and Shirley Smith, and Karen Brody and Mike Hughes Brett Sprague, Young Artist Sponsored by Patrick Spieles and Carol McMurry OP E R A COLO R A D O ’ S 2 0 1 4 S E A S O N S P O N S O R S

OP E R A C O LO R A D O M E D IA S P O N S O R S

OPERATING THE SUBTITLES | FOLLOW THESE EASY STEPS

ITLE S

AT YO U

BT

PS

EN

 Prior to the performance, the screen will display a sponsored message automatically.

U

 R

FI N G E R

TI

G LI S H O R

ANI S H S SP

(You cannot turn it off.)

 When the singing begins, briefly press the red button.  Press once for English titles and twice for Spanish titles.  Press three times to turn the system off.  Repeat these steps after intermission(s).

Pressing the button too many times or holding the button down will result in system failure. Titles are only broadcast when singing occurs on the stage. If you experience difficulty with the system, please contact an usher for assistance. Opera Colorado does not offer refunds or exchanges in the event of subtitle system failure. A synopsis of the opera is available in this program.



All Sunday matinee performances offer audio description for the visually impaired.

Headsets are available at the coat check.

English subtitles written by Jeremy Sortore for Opera Colorado. Spanish translation by TranslatingSpanish.com 2

• R I G O LETTO

SYNOPSIS

BY BETSY SCHWARM

RIGOLETTO

S E T T I N G • 1 5 T H C E N TU RY M A N TUA I N N O R T H E R N ITALY ACT 1 The licentious Duke of Mantua regales his courtiers with tales of his latest amorous objective: a pretty girl whose name he does not yet know. He hopes to add her to his lengthy list of conquests before long, but for a more immediate diversion, he makes advances to the Countess Ceprano, despite the glowering presence of her husband. Amused by the situation, the jester Rigoletto mocks Count Ceprano, arousing not only his victim’s hatred, but also that of the other courtiers. Monterone storms in, disrupting the party with bitter accusations that the Duke has dishonored his daughter.

When the jester turns his razor wit toward Monterone, he is cursed by the old man for making light of a father’s grief.

Rigoletto, himself a father, though he has concealed that fact from the court, is frightened by the curse.

On his way home, Rigoletto encounters the assassin Sparafucile, who offers his services. The jester sends him away. When he arrives home, his daughter Gilda asks him to tell her of her mother, who died when the girl was a baby. He responds that she, Gilda, is the only joy left in his life, and insists that for her own protection, she must never leave the house.

She does not admit that, at church, she has met and become attracted to an unknown young man (the Duke in disguise).

In Rigoletto’s absence, the Duke and Gilda meet. They pledge their love, and before leaving, he gives her his supposed name. Gilda is overjoyed, but her bliss is shortlived, for Ceprano and the courtiers have come to abduct her, believing that she is Rigoletto’s mistress. Rigoletto himself is deceived into assisting the conspirators. Only upon hearing his daughter’s screams does he realize that Monterone’s curse is taking effect.

ACT 2 The Duke, who was unaware of the conspirators’ plan, laments Gilda’s disappearance. The courtiers arrive to tell him that they have seized Rigoletto’s “mistress.” Immediately realizing who she must be, the Duke rushes to be with her. Rigoletto enters,

in search of Gilda. He pleads for her safe release, but it is too late: the Duke has had his way. Rigoletto swears vengeance, despite Gilda’s pleas for mercy for the man she loves.

ACT 3 Without Gilda’s knowledge, Rigoletto has hired Sparafucile to murder the Duke. The assassin’s sister Maddalena will lure the Duke with a promise of a liaison, but he will find only death. Rigoletto himself will dispose of the body. The jester, however, remains concerned about his daughter’s infatuation with the Duke. Hoping to end her affection, he forces her to watch through the window as her lover makes advances to Maddalena, using many of the same sweet phrases he had previously spoken to Gilda. Then Rigoletto sends the girl away.

As the evening passes, events take an unexpected turn. Maddalena, taking pity on the Duke, persuades her brother to spare the intended victim, and to kill someone else instead. Gilda returns in Rigoletto’s absence, vowing to save her lover by becoming a victim in his place. It is she who is attacked and delivered in a sack to Rigoletto, who exults, imagining that his enemy is dead. Suddenly, hearing the Duke’s voice in the distance, the jester opens the sack. Gilda, begging his forgiveness, dies in his arms.

Monterone’s curse had been fulfilled.

R I G O LETTO •

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UNDER THE SURFACE OF RIGOLETTO N

BY BETSY SCHWARM

o fan of the performing arts is at all likely to have entirely avoided the tales of Victor Hugo (1802 – 1885). From Les Miserables to The Hunchback of Notre Dame to Le roi s’amuse (The King’s Diversions), we’ve hear the stories. If the title of the last of those three seems at first unfamiliar, give it a new title. In the care of Giuseppe Verdi (1813 – 1901), as Rigoletto, it, too, becomes a known quantity: the court jester who tolerates his licentious employer’s affairs until that employer’s roving eye falls upon the jester’s own daughter with tragic results. Whether it is presented as Hugo’s play or Verdi’s opera, in either case, it makes for high drama.

In both cases, however, it was “high drama” that attracted negative attention from authorities. Both Hugo, whose play premiered in 1832, and Verdi, with the opera nearly two decades later, found that censors would not forgive stage entertainment that offered negative portrayals of monarchs.

Such tales were imagined as subversive for their potential of instilling distrust amongst the populace. Hugo’s play was banned from the stage after its first performance; Verdi only came to know it in print.

Verdi’s own adventure with censors long delayed the opera’s premiere, as authorities demanded repeated changes in the libretto. Rigoletto would not reach the public until March 11, 1851, at Venice’s La Fenice Opera House. At that point, it seemed to inspire no revolutions of a political nature, though it was certainly revolutionary in artistic terms. Here was an opera of unrestrained emotions and vivid characterizations, in both cases to greater extremes than most operas that had preceded it, even those by Verdi himself.

VICTOR HUGO

GUISEPPE VERDI

BOTH HUGO... AND VERDI FOUND THAT CENSORS WOULD NOT FORGIVE STAGE ENTERTAINMENT THAT OFFERED NEGATIVE PORTRAYALS OF MONARCHS.

no less attentive to the craft of writing for ensembles. His Act Three quartet for the Duke, Gilda, Rigoletto, and tavern girl Maddalena brings home the fact that four different points of view are being expressed. Ever his amorous self, the Duke’s music is buoyantly concerned with nothing but his latest conquest. Maddalena, a practical woman who is an insider to the plot against the Duke’s life, is able to laugh off his attentions, for she knows his game and anticipates its results. For Gilda, there is no laughter, only heart-broken gasps at her beloved’s treachery. Rigoletto, for his part, is given phrases that might comfort her, were they not interspersed with dark vows of vengeance. It might be puzzling for a listener to sort out all these views passing by simultaneously, had Verdi not written each character’s music as distinctly reflective of that person’s emotional state.

Musically speaking, the composer goes far to let the notes on the page color the moods on the stage. Of the three principal characters, the first we meet is the Duke, whose music is light as air; here, it tells us, is a man who lives for pleasure. By contrast, young Gilda is his very antithesis, with music that is largely gentle reflection. As for Rigoletto himself, despite working as a court jester, he is far from a cheerful soul. His music is weighty and declamatory, the orchestra further reinforcing the heft that comes with the rich baritone range.

It is a story of such powerful dramatic possibilities that any inspired opera composer would have seen its stage potential.

Giacomo Puccini (1858-1924) could have made much of it, had Verdi not beaten him to it. In fact, Puccini was known to occasionally set as opera a story previously used by another composer. That he did not do so in this case may prove his high opinion of Verdi’s effort, that it was something that could not be bettered. Whether one comes to Rigoletto as an old favorite opera to be experienced anew or as a first time plunge into operatic realms, in either case, it is a work that is unlikely to disappoint. Here, Verdi provided some of his very best music.

All we as listeners need to do is bring our ears and our attention.

Having so skillfully painted individual characters, Verdi was

BETSY SCHWARM IS THE AUTHOR OF OPERATIC INSIGHTS.

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THE ARTISTS John Baril, Chorus Master

(Opera Colorado Debut: Lucia di Lammermoor, 2003) John Baril conducted the 2012 Opera Colorado production of The Marriage of Figaro having led the student matinee of The Barber of Seville in 2010. As long-time Music Director of Central City Opera he has conducted Die Sieben Todsuenden, Les Mamelles de Tiresias, Gianni Schicchi, Three Decembers, Lucia di Lammermoor, West Side Story, Cendrillon, Il barbiere di Siviglia, Madama Butterfly, among many others, and will lead Dead Man Walking this summer. Recent engagements include Cavalleria Rusticana/Pagliacci and Tosca with Opera Delaware, Don Giovanni with Nashville Opera and Carmen with Nevada Opera.

Rene Barbera, The Duke of Mantua (Opera Colorado Debut)

Tenor René Barbera, a graduate of Lyric Opera of Chicago’s Patick G. and Shirley W. Ryan Opera Center, has swiftly established himself as a young artist on the rise. At Placido Domingo’s Operalia 2011 in Moscow, he was awarded First Prize for Opera, First Prize for Zarzuela and the Audience Prize. He is the first artist to be the sole recipient of all three awards since the competition began in 1993.

Barbera began the 2013-14 season as the tenor soloist in the Verdi Requiem with the Melbourne Philharmonicand later with the Seattle Symphony. He makes two major debuts this season; Opéra National de Paris as Arturo in I puritani and Teatro di San Carlo in Naples as Count Almaviva in Il barbiere di Siviglia. Barbera finishes the season as Nemorino in L’elisir d’amore with the Austin Lyric Opera and Opera Theatre of St. Louis. In the summer of 2013, he made his Santa Fe Opera debut as Rodrigo in Rossini’s La donna del lago.

Rachele Gilmore, Gilda

(Opera Colorado Debut) Rachele Gilmore’s 2013-2014 engagements include the title role in Lucia di Lammermoor for her debut at Opéra de Lille; La Monnaie in Brussels for Ophélie in Hamlet; Olympia in Les Contes d’Hoffmann with the Bayerische Staatsoper; Gilda with Opera Colorado; and a return to the Glimmerglass Festival, as Zerbinetta in Ariadne auf Naxos. Future seasons include performances with Opera Omaha, the Los Angeles Philharmonic, the BBC Symphony Orchestra, Festival d’Aix-en-Provence and NCPA Beijing. The 2012-2013 season brought Ms. Gilmore’s role debut as the Queen of the Night in Opera Philadelphia’s production of Die Zauberflöte

and highly acclaimed performances as Amina in La Sonnambula with Florida Grand Opera. Other recent performances include a debut with Teatro alla Scala, as Olympia in Robert Carsen’s production of Les Contes d’Hoffmann; Blonde in Die Entführung aus dem Serail with Grand Théâtre Genève; the roles of Das Feuer and Die Nachtigall in L’Enfant et les Sortileges with the Bayerische Staatsoper;Cunegonde in Candide with Portland Opera; Elvira in Bellini’s I Puritani; Gilda in Rigoletto with Michigan Opera Theater; a “show-stopping” [Classical Source] debut with the Metropolitan Opera, in the role of Olympia in Les Contes d’Hoffmann.

Jared Guest, Marullo

(Opera Colorado Debut: Romeo and Juliet, 2013) Jared Guest received his Bachelor of Music degree in Voice Performance from Florida State University and his Master of Music degree in Voice Performance and Opera from the University of Houston’s Moores School of Music.

He has performed in a wide range of operas such as Il Barbiere di Siviglia, Der Rosenkavalier, Falstaff, Amelia, Il Postino, Der Zauberflöte, La Vie Parisienne, Don Giovanni, Tosca and Carmen. In his first year as an Opera Colorado Young Artist, Guest performed the role of Grégorio in the company’s production of Gounod’s Romeo and Juliet with the main stage cast and the role of Frère Laurant for the student matinee. As a 2014 Opera Colorado Young Artist, Jared sings the role of Escamillo in the student matinee of Carmen, and in the company’s touring productions he will perform Mercutio in Romeo and Juliet and Figaro in The Barber of Seville.

Gordon Hawkins, Rigoletto

(Opera Colorado Debut) Gordon Hawkins is critically acclaimed throughout the world for his in-depth interpretations and luxuriant baritone voice. Recent engagements include Alberich in Der Ring des Nibelungen at the San Francisco Opera, Deutsche Oper Berlin, and Teatro de la Maestranza in Seville; Der Freischütz and Alberich in Das Rheingold at Teatro de la Maestranza in Seville; Telramund in Lohengrin at Deutsche Oper Berlin; Renato in Un Ballo in Maschera at the New Orleans Opera; Crown in Porgy and Bess at Cincinnati Opera; Amonasro in Aida at Lyric Opera of Chicago, Michigan Opera Theatre, and Cincinnati Opera; and Scarpia in Tosca with Arizona Opera. Hawkins was a winner of the Metropolitan Opera National Council Auditions, the Luciano Pavarotti International Vocal Competition and was awarded the Washington National Opera’s 2006 Artist of the Year Award.

R I G O LETTO •

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THE ARTISTS Antoine Hodge, A Herald

(Opera Colorado Debut: Les Contes d’Hoffmann, 2009) Antoine Hodge, bass-baritone, began the 2013-14 season as soloist in Liza Lehmann’s In A Persian Garden at the Broadway Music School. He continues his work with Central City Opera as a member of their Ensemble Artists. Past roles include Colline in Puccini’s La bohème, Betto/Amantio di Nicolao in Gianni Schicchi, the Master of Ceremonies in Massenet’s Cendrillon, Mr. Page in The Merry Wives of Windsor, Mr. Gobineau in The Medium, Yundt in Curtis Bryant’s The Anarchists, Don Bartolo in Le nozze di Figaro, as well as a host of comprimario roles on professional stages in Colorado and Georgia. Recent engagements include his debut and return to Opera Fort Collins in Amahl and the Night Visitors, and a company debut with Boulder Opera Company as Don Magnifico in La Cenerentola. Other engagements for 2013-14 season include a debut appearance as Bass Soloist with Greeley Philharmonic in Mozart’s Requiem and Bass Soloist with the Chamber Orchestra of the Springs in Beethoven’s Symphony No. 9.

Colleen Jackson, The Countess Ceprano

(Opera Colorado Debut) Colleen Jackson received her Bachelor of Music in Voice Performance from Florida State University. A recent graduate of the University of Northern Colorado’s Master of Music program, Jackson performed the roles of Mrs. Nordstrom in A Little Night Music, Donna Anna in Don Giovanni and Fiordiligi in Così fan tutte with the Greeley Philharmonic Orchestra.

In 2013 she sang her debut of Violetta in Verdi’s La Traviata as an alumna guest artist with UNC. Most recently, Jackson made her professional operatic debut with Opera Fort Collins in the title role of Douglas Moore’s The Ballad of Baby Doe. As a 2014 Opera Colorado Young Artist, Jackson will sing the roles of Juliet and Berta in the company’s touring productions of Romeo and Juliet and The Barber of Seville. In the student matinee of Carmen, she will sing the role of Michaela.

Dana Beth Miller, Maddalena

(Opera Colorado Debut: Rusalka, 2011) Opera Colorado is pleased to welcome Dana Beth Miller back to Denver after her stellar performance in our 2011 production of Rusalka. Miller is rapidly establishing herself as one of the most promising and exciting dramatic mezzosopranos on the stage today. She has been engaged by the leading opera houses around the world including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Deutsche Oper Berlin,

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• R I G O LETTO

New York City Opera, Seattle Opera, Boston Lyric Opera, Dallas Opera, Florida Grand Opera, Austin Lyric Opera and Cincinnati Opera. Recent engagements include Amneris in Aida with Arizona Opera and Tulsa Opera, Maddalena in Rigoletto with Florida Grand Opera, Carmen with Boston Lyric Opera, Mary in Der Fliegende Holländer with the Berlin Philharmonic, Santuzza in Cavalleria Rusticana with Edmonton Opera, and Erda in both Das Rheingold and Siegfried, Dame Quickly in Falstaff and Ulrica in Un Ballo in Maschera with Deutsche Oper Berlin.

Louise Rogan, Giovanna & A Page (Opera Colorado Debut)

Louise Rogan received her Diploma in Vocal and Opera Studies from the Royal Northern College of Music in 2009 and a Bachelor of Music degree from the Chicago College of Performing Arts. In 2013, she graduated from the Professional Diploma in Opera program at the Chicago College of Performing Arts. At Chicago College of Performing Arts she sang Pamela in New York Stories, Third Lady in Die Zauberflöte and the title role in the Chicago premiere of Amelia by Daron Hagen. As a member of the Chicago Opera Theater Young Artist Program, she performed the roles of Second Lady in Die Zauberflöte and Masha in Moscow Cheryomushki.

Rogan won the Sixth Annual Elgin Opera Vocal Competition in 2012. As a 2014 Opera Colorado Young Artist, she will perform the title role in the student matinee production of Carmen, Stephano/ Gertrude in Romeo and Juliet and Rosina in The Barber of Seville for the touring productions.

Benjamin Sieverding, Count Ceprano (Opera Colorado Debut)

Originally from Sioux Falls, South Dakota, Benjamin Sieverding recently completed his post-graduate studies in Vocal Performance at the University of Michigan, where he also received his Master of Music. In 2012, he won the Nebraska District and was an Upper Midwest Region finalist of the Metropolitan National Council Auditions. His most recent operatic credits with University of Michigan Opera Theater include The Rape of Lucretia, Don Giovanni, Così fan tutte, The Rake’s Progress and Falstaff. In 2011, he was Zuniga in Carmen with Arbor Opera Theater and Otto in Jukka Linkola’s world premiere of Rockland with Pine Mountain Music Festival. In summer 2013, he joined The Santa Fe Opera as an apprentice artist, singing the world premiere of Theodore Morrison’s Ocsar. As an Opera Colorado Young Artist, he will sing the roles of Capulet/Tybalt in Romeo and Juliet and Bartolo in The Barber of Seville for the touring productions. He will sing the role of Zuniga in both the mainstage and student matinee performances of Carmen.

THE ARTISTS Brett Sprague, Borsa

(Opera Colorado Debut) Originally from Lakewood, WA, Brett Sprague holds a Bachelor’s degree in Vocal Performance from Chapman University and received his Master’s degree in Classical Voice from the Manhattan School of Music in 2012.

Brett’s past credits include Peter Grimes with Chautauqua Opera, Don Pasquale with Amore Opera, The Most Happy Fella with Dicapo Opera, Die Zauberflöte with New York Lyric Opera Theatre, The Ghosts of Versailles, Così fan tutte, Thaїs and La Vida Breve with the Manhattan School of Music’s Opera Theatre, Lucia di Lammermoor and Falstaff with MSM’s Opera Repertory Ensemble and L’elisir d’amore with Tuscia Opera Festival.

As a member of the 2014 Opera Colorado Young Artists, Sprague will sing the roles of Almaviva in The Barber of Seville and Romeo in Romeo and Juliet for the touring productions. In the student matinee of Carmen, he will sing the role of Don José.

Stefan Szkafarowsky, Count Monterone and Sparafucile

(Opera Colorado Debut: Rusalka, 2011) As one of America’s leading artists, Bass Stefan Szkafarowsky is highly sought after by opera companies and orchestras in this country and abroad.

His recent engagements include a return to the Metropolitan Opera to perform the Bonze in Madama Butterfly, as well as St. Nicholas Mass at Lincoln Center. He then performed Commendatore in Don Giovanni and Prince Gremin in Eugene Onegin for Des Moines Opera, Uberto in La Serva Padrona at the Macau International Music Festival, the Bonze in Madama Butterfly for Los Angeles Opera, Sacristan for Pensacola Opera and Old Hebrew in Samson et Dalila at Savonlinna Opera Festival. Upcoming engagements include a reprisal of his role of the Bonze at the Met, Zaccaria in Nabucco for Lviv Opera House. He has worked under the batons of Plácido Domingo, Michael Lankaster, Mstislav Rostrapovich, Leonard Slatkin and Michael Tilson Thomas. Szkafarowsky is a recipient of grants from the Sullivan Foundation and the Tito Gobbi Award from the Rosa Ponselle Foundation. He is also a regional winner of the Metropolitan Opera Auditions.

Donald Edmund Thomas, Lighting Design

(Opera Colorado Debut) Donald Thomas is pleased to be working with Opera Colorado.

His recent productions include The Flying Dutchman for Michigan Opera Theatre, where he designed I Pagliacci, Tosca, Rigoletto, Le Nozze di Figaro, Il trovatore, Salome and Roméo et Juliette in previous seasons.

He also designed the world premiere

of David DiChiera’s Cyrano for MOT, and subsequent productions for Opera Company of Philadelphia and Florida Grand Opera. Other recent designs include Don Giovanni for Washington National Opera at the Kennedy Center, and Die Zauberflote and La Sonnambula for Florida Grand Opera. For Seattle Opera he designed La Fanciulla del West, Manon Lescaut and I Pagliacci. Thomas also works extensively in theater, having designed Alcazar de Paris on Broadway, a national tour of Fiddler on the Roof, A Moon for the Misbegotten for American Repertory Theatre and the musical Annie for the Maltz-Jupiter Theatre in Florida. Upcoming productions include a new play, Tryst, for Palm Beach Drama Works, and a staged concert version of Mendelsohn’s A Midsummer Night’s Dream for the Baltimore Symphony Orchestra, as well as productions of Madama Butterfly and The Barber of Seville.

Thomas is a graduate of the Yale School of Drama.

Bernard Uzan, Stage Director

(Opera Colorado Debut: Madama Butterfly, 2000) Opera Colorado is pleased to welcome Bernard Uzan back to Denver after directing the 2000 production of Madama Butterfly. Uzan’s extensive background in the performing arts includes achievement as a general director, artistic director, stage director, artist manager, set designer, librettist, actor and published novelist. As a stage director and producer, his 375 productions have appeared on the stages of more than 100 opera companies throughout the world. In the 2012-2013 season, he directed Suor Angelica and La Voix Humaine for Seattle Opera, a new production of Carmen for Theatre Erfurt in Germany, a new production of The Flying Dutchman for Lyric Opera of Kansas City, a new production of Les Pêcheurs des perles for Opera Carolina, La Bohème for Lyric Opera Baltimore, Tosca for Arizona Opera, and Faust for Austin Lyric Opera. Future engagements include a return to Germany for Werther and Rigoletto, as well as new productions of Nabucco and Hamlet.

Leonardo Vordoni, Conductor

(Opera Colorado Debut: Il Barbiere de Siviglia, 2010) Opera Colorado is pleased to welcome Leonardo Vordoni back to Denver after conducting the 2010 production of Il Barbiere di Siviglia.

This season includes debuts with the Michigan Opera Theatre in La Traviata, Opera Omaha in La Cenerentola and the Opéra National de Bordeaux in Donizetti’s Anna Bolena. Future engagements include returns to Minnesota Opera for L’Elisir d’Amore by Donizetti and to Michigan Opera Theatre, and a debut with Lyric Opera of Kansas City in L’Italiana in Algeri. Past engagements include Il Barbiere di Siviglia with Houston Grand Opera, Lucia di Lammermoor with Minnesota Opera, and Rossini’s Mosè in Egitto with Chicago Opera Theatre.

Vordoni has given and continues to give master classes in Italian repertoire for Young Artist Programs, universities and schools of music across the United States.

R I G O LETTO •

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RIGOLETTO ORCHESTRA

OPERA COLORADO CHORUS

VIOLIN Takanori Sugishita, concertmaster Rene Knetsch, principal second violin Natasha Colkett Angela Dombrowski Lynne Glaeske Margaret Gutierrez Debra Holland Chris Jusell Annamaria Karacson Cyndi Mancinelli Dan Murphy Brett Omara Susie Peek Ingrid Peoria Gyongyi Petheo Veronica Pigeon Leslie Sawyer Robyn Sosa

CELLO Jeff Watson, principal Cedra Kuehn Evan Orman David Short Elle Wells Carole Whitney

VIOLA Jeanne Chin, principal Brian Cook Matthew Dane Erika Eckert Sarah Richardson Lora Stevens

CLARINET Michelle Orman, principal Heidi Mendenhall

BASS David Crowe, principal Tyler Honsel Jeremy Nicholas Matthew Pennington FLUTE Susan Townsend, principal Elizabeth Sadilek OBOE Max Soto, principal Susanne Sawchuk

HORN Michael Yopp, principal Devon Park Jason Johnston Marian Hesse TRUMPET Brian Brown, principal Steve Kilburn TROMBONE Owen Homayoun, principal Bill Stanley Jeremy Van Hoy TUBA Michael Allen, principal TIMPANI Peter Cooper, principal PERCUSSION Mark Foster, principal

TENORS Patrick McAleer David Ellwood Evan Glaser George Lemmon Jason Parfenoff Park Wm. Showalter Norman Spivy Joseph Taczak Steve Walz Keith Williamson BARITONES John Adams Shane Delavan Michele Di Nuovo Jamie Halladay Antoine Hodge Tony London Bill Lee Patrick Maschka Nicholas Navarre

BASSOON Kim Peoria, principal Kaori Uno

PRODUCTION STAFF MUSIC STAFF John Baril, Chorus Master Steven Aguilo-Arbues, Coach/Accompanist Kim Peoria, Orchestra Personnel Manager Ingrid Peoria, Orchestra Librarian PRODUCTION STAFF Katie Preissner, Production/Stage Manager Jordan Braun, Assistant Stage Manager Sarah Johnson, Assistant Stage Manager Daniel Miller, Assistant Director Jeremy Sortore, Title Coordinator Beth Nielsen, Title Operator Park Wm. Showalter, Chorus Liaison Stan Anderson, Supernumerary Captain

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• R I G O LETTO

Brian Greffe, MD, Company Physician Buzz Reifman, NPPA, Company Otolaryngologist TECHNICAL STAFF Dennis Watson, Head Carpenter Don Watson, Shop/Production Carpenter Dick Watson, Assistant Carpenter Jeff Reidel, Head Flyman David Arellano, Head Electrician Chris Green, Light Board Operator Charlie Wilson, Assistant Electrician Patrick Howard, Assistant Lighting Designer Bill Hansen, Head Props Jeff Greenberg, Assistant Props Charles Polich, Head Sound Paul Behrhorst, Purchasing Agent

ELLIE CAULKINS OPERA HOUSE CREW Al Price, House Prop Dave Wilson, House Electrician Dave Lambert, House Carpenter Michael Cousins, House Sound

VOLUNTEER DRESSERS Leslie Cady Kathy Heider Jan Heimer Pat Smith Barbara Wilder

COSTUMES Ann Piano, Costume Director Alison Milan, Shop Manager and Wardrobe Head

WIGS AND MAKEUP Sarah Opstad, Associate Wig and Makeup Coordinator

SHOP ASSISTANTS Meredith Fogg Barbara Piano Elizabeth C. Porter DRESSERS Kevin Brainerd Karen Billingsley Lisa Ray Borgmann Brad Davis Sara Lynn Hildebrand Teresia Larsen Elizabeth C. Porter Annabel Reader

ARTIST HOSTS Host Chairmen: Merrill Shields Dirk and Joyce deRoos Robert Kahn Jeff Brown Heather MacKinnon Pam and Mo Mathews Kevin O’Connor Marilyn Olen Astrid Stocks Carol Whitley

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HOST AN ARTIST

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he host committee serves as a welcoming party to artists, directors and conductors, and provides support to artists during their stay in Denver. Each host greets their assigned artist at the airport, transports them to their temporary residence and delivers a bag of goodies to help them through their first night in Denver.

Hosts also serve as a resource, occasionally transporting artists to the grocery store or other necessary errands. One family has taken on hosting as a family affair. Maradith and Rusty Wilkins, their daughter Wendy Cogdal and granddaughter Lillian serve as hosts.

They have enjoyed meeting some of the great artists performing with Opera Colorado. “The host program is a great way to make a personal connection with the singers, conductors and directors,” says Wendy. “We have hosted a variety of artists throughout the years. Since my children were young when we started hosting, it helped them develop their love of opera and music. Lillian (19)

regularly attends opera with us, and Dillion (a college student studying jazz percussion) attends as well.”

Hosts enjoy the experience of welcoming artists to Denver and contributing an important service to Opera Colorado. In many cases, they form lasting friendships. “The first artist mom hosted was Beth Clayton when she came in 2005 for her role in Rigoletto as Maddalena,” explains Wendy. “We hosted Beth again when she returned for her role as Carmen in 2005 and as Paula in Florencia en el Amazonas in 2012. We all formed an immediate friendship with Beth. We continue to stay in contact with her and have traveled to different cities to see her perform. We enjoy hosting because we can meet people that we might not have otherwise met, form longlasting relationships and hear stories about their travels and lives in the opera world.”

HOSTING AN ARTIST PROVIDES A GREAT OPPORTUNITY TO PARTICIPATE IN OPERA COLORADO. IF YOU ARE INTERESTED IN JOINING THE ARTIST HOST COMMITTEE PLEASE CONTACT MERRILL SHIELDS AT MERRILLSHIE@AOL.COM.

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ANNUAL CONTRIBUTORS FOUNDATIONS, CORPORATIONS AND GOVERNMENT The Board of Directors of Opera Colorado and the staff wish to acknowledge the extraordinary generosity of the foundations, corporations and government agencies that made contributions in support of our general operating expenses and Education & Community Engagement Programs from January 1, 2013 through January 24, 2014.

IMPRESARIO (Special sponsorships above annual contribution)

The Anschutz Foundation The Hood-Barrow Foundation PRESIDENT CIRCLE ($20,000+) The Anschutz Foundation Avenir Foundation Beverly Anderson Nemiro Trust Boettcher Foundation Bonfils-Stanton Foundation Chambers Family Fund The Denver Foundation Galen & Ada Belle Spencer Foundation Jan Mayer Trust Shamos Family Foundation Sidney E. Frank Foundation Scientific and Cultural Facilities District DIRECTOR ($10,000+) Cannon Y. and Lyndia K. Harvey Family Foundation Caulkins Family Foundation Colorado State Bank and Trust The Crawley Family Foundation Fidelity Investments Charitable Gift Fund Faegre Baker Daniels Frederic C. Hamilton Family Foundation

TRIBUTES IN HONOR OF SUZANNE BUCY

Dr. and Mrs. Frank Sargent Mrs. Nancy H. Schulein IN HONOR OF GREGORY A. CARPENTER Dorothy and Ted Horrell Sandra Vinnik IN HONOR OF ELEANOR N. CAULKINS Dr. and Mrs. A. Todd Alijani John and Rosemary Ashby Charitable Fund Mr. David Chavolla Mrs. Marcia D. Strickland IN MEMORY OF MAUD B. DUKE Ellie Caulkins Mrs. Laurie & Mr. Ben Duke III

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Gates Family Foundation Higbie Family Foundation Jess & Rose Kortz and Pearl Rae Foundation Kinney Oil Company The Magnolia Hotel* Melvin & Elaine Wolf Foundation, Inc Mile High United Way Miller Family Foundation Fund Pinnacle Bancorp, Inc. Profit Planning Group Tulsa Community Foundation Wittow Foundation Virginia W. Hill Foundation

Wells Fargo The Westin Tabor Center Hotel* Whole Foods Market - Cherry Creek Xcel Energy Foundation

MAESTRO ($5,000+) Ann and Gordon Getty Foundation Bank of Oklahoma Foundation Charlotte and Norman Codo Trust The Curtis Hotel* Denver Lyric Opera Guild ECA Foundation, Inc. Faegre Baker Daniels Foundation Fairfield & Woods, PC Fine Arts Foundation The Four Seasons* The Hunt Family Foundation Jeanne Land Foundation Leonard and Alice Perlmutter Charitable Foundation Peak ENT and Voice Center Private Capital Management, Inc. Tepper Family Foundation

COMPRIMARIO ($1,000) Beaver Creek Resort Company David B. and Gretchen W. Black Family Foundation The Deane Family Fund The Dobbins Foundation Griffin Foundation The Henry Laird Smith Foundation The Hood-Barrow Foundation Kundinger, Corder & Engle, P.C. Lincoln Financial Foundation, Inc. Priester Foundation Schwab Fund for Charitable Giving US Contract Sewing* William D. Radichel Foundation CHORISTER ($500 +) AMG Charitable Gift Foundation

*Gift In-Kind

IN MEMORY OF BYRON E. GRABER

IN HONOR OF HON. KENNETH

IN HONOR OF NORMAN SPIREY

Bjork Lindley Little, PC David & Debra Flitter Calvin M. Seiler Jo B. Shannon IN MEMORY OF EVA & HENRY HURST Prof. and Mrs. Joseph S. Szyliowicz IN LOVING MEMORY OF MY HUSBAND PHILIP ISELY

Mrs. Philip Isely

IN HONOR OF CHARLES

& URSULA KAFADAR

Sherry Berger Ms. Lois B. London Sandra Vinnik

OPE RA COLORADO 2014

DIVA ($2,500+) The Denver Post Charities Jones International University Kinder Morgan Foundation The Schramm Foundation Ralph L. and Florence R. Burgess Trust Sage Hospitality Resources Anonymous (4)

& MRS. BARBARA LAFF Ms. Diana Terry IN HONOR OF MRS. CAROLYN T. MCCORMICK Molly Brindle Donna Reed IN HONOR OF RUTH O’NEAL Dr. Peter & Mrs. Kathy Van Arsdale IN MEMORY OF OUR PARENTS

Priscilla Brookens

IN HONOR OF ALESSANDRA SCHULEIN

Christopher Heinrich IN MEMORY OF JAMES H. SHORE Mrs. Christine Shore

Carson-Pfafflin Family Foundation The Garrett Family Foundation M2 Lending Solutions LLC Neiman Marcus Newmont Mining Corporation Rose Community Foundation US Bancorp Foundation Anonymous (1) FRIEND (100+) American Endowment Foundation Barnes & Noble Bell Family Foundation Bjork Lindley Little, PC Community First Foundation Daniels-Houlton Family Foundation Delta Omicron Fraternity Zeta Zeta Chapter First Data Foundation Gill Foundation IBM International Foundation Ingrid Fretheim Interiors Lin Lee & Associates Montague-Clouse Charitable Giving Fund Mu Phi Epsilon Nelson Family Foundation Network For Good Rassman Design* Wednesday Music Party

Donna Boender

IN MEMORY OF WILLIAM STILES, JR.

Mrs. Donna J. Stiles IN MEMORY OF HAZEL & J.W. TILDEN Ms. Janice Tilden IN HONOR OF MR. BYRON WATSON Tulsa Community Foundation IN HONOR OF JAMIE WHITE & ANDY SIROTNAK

Ellie Caulkins Merle C. Chambers Mr. and Mrs. Richard L. Robinson

Honor Those You Love

Denver Lyric Opera Guild

With the Choice of Monarch Society “Thank you to each & everyone at Monarch Society for your help, support, kindness & compassion.

We will be forever grateful” - P & D

• Accredited Professional • On-Site Crematory Team •A vailable Statewide, • Serving All Faiths 24/7 • Grief Support

• Pre-Plan Savings & Veteran’s Benefits

You’re invited!

Opera on Tuesday April 1, 2014, 10:30 AM - 1:00 PM Featuring: DLOG’s Final Competition Winners Pinehurst Country Club, $35.00 Per Person Lunch and outstanding entertainment

May 6, 2014, 11:30 AM - 1:00 PM Featuring: University of Northern Colorado Opera Singers Lakewood Country Club, $30.00 Per Person Lunch and outstanding entertainment

Reservations Required

A Locally Owned & Operated Mortuary

Email: Jan Gibson at: ejgibson@ecentral.com Phone: 720.799.5800 or reserve through PayPal at denverlyricoperaguild.org

Regional and National Opera Excursions Join opera lovers to cities with great opera houses!

Hear the best voices and fun cultural activities.

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303.837.8712 (24/7)

Annual Summer Party July 15, 2014 Mount Vernon Country Club

For more information visit our website: denverlyricoperaguild.org

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ANNUAL CONTRIBUTORS INDIVIDUALS The Board of Directors of Opera Colorado and the staff express their deepest appreciation to the individuals who have contributed to the Annual Fund. This generosity enables Opera Colorado to continue producing opera of the highest artistic merit and to reach over 35,000 school children and adults each year.

The following list acknowledges individual donors who made gifts to Opera Colorado’s Annual Fund from January 1, 2013 through January 24, 2014.

IMPRESARIO (Special sponsorships above annual contribution)

Mr. and Mrs. Kenneth T. Barrow Mike and Julie Bock Ellie Caulkins Michael Hughes and Karen Brody Marlis and Shirley Smith Patrick Spieles and Carol McMurry PRESIDENT CIRCLE ($20,000+)

Mr. and Mrs. Kenneth T. Barrow Sheila Bisenius Mike and Julie Bock Peyton and Suzanne Dost Bucy Ellie Caulkins Hugh A. Grant and Merle C. Chambers Mary and Thomas Conroy Dave and Pam Duke Hilja K. Herfurth Mr. & Mrs. Jeremy F. Kinney Mrs. Jan P. Mayer Mrs. Nathaniel C. Merrill Ms. Muffy Moore and Mr. Al Minier Jeff Baldwin and Debra J. Perry Marcia and Richard Robinson Susan and Jeremy Shamos Merrill Shields and M. Ray Thomasson Marlis and Shirley Smith Patrick Spieles and Carol McMurry Anonymous (1)

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DIRECTOR ($10,000+) Mrs. Susan Adams Mr. Bruce Allen Al and Rebecca Bates Noel and Thomas Congdon Robert and Lenore Damrauer Joy and Christopher Dinsdale Frederic and Jane Hamilton Mr. and Mrs. C.Y. Harvey Harley and Lorraine Higbie Michael Hughes and Karen Brody Dr. and Mrs. Charles B. Kafadar Honorable and Mrs. Kenneth Laff Frank and Virginia Leitz Harold and Ann Logan Kalleen & Bob Malone Dr. and Mrs. William N. Maniatis Kevin O’Connor and Janet Ellen Raasch Ann and Gerald Saul Alessandra and Ben Schulein Robert and Elizabeth Swift Beatrice Taplin Mr. and Mrs. Charles I. Thompson Martha and Will Tracey Byron Watson Britney and Richard Weil Herbert Wittow Sandy Wolf MEASTRO ($5,000+) Linda Bjelland Ze and Dick Deane Dr. Stephen L. Dilts Robert S. Graham Sarah and Christopher Hunt Craig N. Johnson and Alicia McCommons Diana and Mike Kinsey Ms. Carole Leight Veronica A. McCaffrey and Barbara A. Frank Tom and Mary Meade Robert R. Montgomery and Nancy Hawkins Leonard and Alice Perlmutter Craig and Maria Ponzio Myra and Robert Rich Daniel L. Ritchie Mr. and Mrs. George G. Shaw Jerry and Debi Tepper Mr. and Mrs. Burl S. Watson Mrs. Carol C. Whitley Larry and Brigitte Zimmer Anonymous (1) DIVA ($2,500+) John E. Baril Mr. James L. Berggren Mr. Eric Coomer and Mrs. Amber Hess Ron Covey Jack Finlaw and Gregory Movesian Celeste Fleming

OPE RA COLORADO 2014

Terry Frazier and Kathy Wells Robert and Maria Jennett Joe and Francine Kelso Dr. Kendra Kohlhaas Carolyn and Jay McCormick Kelly McCourt and Bryan Hickel Zondra Rae Pluss Bruce V. Polkowsky and Bill Powell Nijole and Walter Rasmussen Juan and Alicia Rodriguez helen Santilli and Lyn Barber Kenneth and Mary Willis Maradith and Rusty Wilkins Anonymous (1) COMPRIMARIO ($1,000) Ed Altman, Jr. and Dr. Dina Brudenell Altman Robert and Megan Armstrong William and Elisabeth Armstrong Hartman Axley Janice Baucum Ellen and Donald Bauder Brian Bennett and Bev Daniels Robin E. Black Dr. Bill and Betty Buchanan Lew and Leslie Cady Mr. and Mrs. K.W. Calkins Mrs. Sue M. Cannon Charles Case and Phillip St. Cloud Mr. John N. Caulkins Ms. Kathryn Codo John and Brian Cook Aubrey Copeland, MD Steve and Pat Corder Kathleen Crapo Carolyn E. Daniels George and Yonnie Dikeou Richard T. and Margaret N. Dillon Marian Dines Ellen and James Donaldson Lois N. Eckhoff Karen Fukutaki Rev. and Mrs. B. J. George Mr. and Mrs. George C. Gibson Mark Groshek, MD and Carl Clark, MD Sandra S. Hall and Jean A. Tutolo Susan and J. Lawrence Hamil Deborah Hayes and James L. Martin III Beverlee B. Henry and The Hon. Robert P. Fullerton Richard G. and Jean L. Higgins Drs. Kathryn Hobbs and Marc Cohen Mr. William T. Hoffman Christine Hollander and Michael McGee Eileen Honnen McDonald Ruth Hopfenbeck and George Hopfenbeck Jr. Steven and Chryse Hutchins Mrs. Philip Isely

Gary and Judith Judd Dr. and Mrs. John N. Kabalin Dr. Lawrence Kim and Nhung Van Sally and Jim Kneser Dagmar Kress Dr. and Mrs. Jeremy Lazarus Hon. and Mrs. Carlos F. Lucero Pat and Barbara McCelvey Jim and Carole McCotter V W Mcnab Paul and Phyllis Miller Dr. Monica I. Minkoff and Mr. Harry M. Siegfried Lynnette Morrison Mr. and Mrs. Chris J. Murphy Dr. and Mrs. Calvern E. Narcisi Drs. Sarah and Harold Nelson Susan and Howard Noble Carl Patterson Dorothy Pearson Bonnie C. Perkins Essie Perlmutter Christine and Harry Phillips Bruce Polkowsky and Bill Powell Rick Poppe & Jana Edwards Mr. Thomas J. Powers Jr. Charles and Reta Ralph Kent Rice and Ann Corrigan Steven and Joan Ringel Donald and Karen Ringsby Ayliffe and Fred Ris Ruth Schoening Dr. and Mrs. Edwin R. Smith Rachel Solomon and Jonathan Parrott Mary and Russell Stewart Christopher Price and S. Edith Taylor The Tooth Fairy John Trueblood Richard Tubbs and Marilyn Smith Marta Turnbull Drs. Kathy Kennedy and Ben Vernon Ed and Patty Wahtera Edward Woolman Anonymous (4) CHORISTER ($500 +) Tucker and Dan Adams Eric and Kathryn Albright Randall Anderson Stan and Marianne Anderson Dr. and Mrs. Sol H. Bassow Dr. and Mrs. Henry J. Beckwitt Mr. and Mrs. Fredric H. Bender Charles E. Berry Joseph and Carolyn Borus Ms. Karen M. Bruggenthies Sandy and Rogene Buchholz Judy and Duncan Burdick Heather Callahan S. Nelson Cammack George M. and Carol G. Canon

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ANNUAL CONTRIBUTORS Mr. and Mrs. Lawrence G. Carpenter Marjorie and Doug Carriger Ronald and Donna Charlin Mr. David Clarke Catherine Cole Donna and Ted Connolly Dr. & Mrs. Robert Contiguglia Mary W. Crawley Lisa Crispin and Robert Downing Nancy Crow and Mark Skrotzki Ms. Cheryl M. Cruickshank Deborah Deeg Jerri Lynn Modrall and Eric E. Doering TJ Donahue Walter W. and Maryruth Y. Duncan Elizabeth and Matthew Dyer Carl and Nan Eklund Amy Feaster Stacy Fischer Larry and Joanne Fisher L. Richard and Sigrid Halvorson Freese Richard and Frances Frey Deborah Friedman Caleb and Sidney Gates Jennifer Garrett Dr. and Mrs. Burton Golub Dr. Daniel J. Greenholz Dr. and Mrs. Frederick L. Grover Sr. Mr. and Mrs. Charles Hamlin Lee and Margaret Henry Don and Mary Hoagland Ms. Laura M. Hoffman Graham and Cathy Hollis Whitney and Halle Holmes Michael E. Huotari and Jill R. Stewart Dr. Jacob G. and Mrs. Sarah F. Jacobson Kendor and Paulette Jones Frank and Pauline Kemp Roberta and Mel Klein Herbert E. and Darlene Kress Pauline Langsley Ann and James Leh Deanna Rose Leino Jim and Patience LinďŹ eld Paul and Carol Lingenfelter Patty Lorie Kupetz John Kure and Cheryl Solich Tom and Ginnie Maes, The Kanter Kallman Foundation Marjorie J. Marks Marian E. Matheson Therese McCarthy William McConathy Ruth Ann McDonald Dr. and Mrs. Hugh J. McGee Jr. Maeve Vickers McGrath Janice McNally Henry Mohr Gregory Movesian Dr. and Mrs. John Moyer 30

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Drs. Michael and Mary Moynihan Mark A. Nachtigal Robert Nelson Ralph Ogden Mr. Steven Okuley Dr. and Mrs. David S. Pearlman Andrew R. Pleszkun Robert and Mary Quillin Dr. Gregory Robbins Susan and Paul Roberts Joe Ronnenberg Mr. Joseph C. Rook Mr Doug Rooney Mr. Allan S. and Judith Rosenbaum Jane Russell and Bill Russell Karen and Mark Sather John Shott and Heidi Munzinger-Shott Ms. Nancy Siegel Dr. Andrew Sirotnak and Mr. Jamie White Dr. Richard Stienmier Jim and Sue Swanson Jim and Kate Taucher Carson Custer Taylor John and Sharon Trefny Paul Voilleque Valerie Wassill Hedy and Michael Weinberg Tor and Virginia Westgaard Scott and Karen Yarberry Ken and Charlotte Ziebarth Mr. and Mrs. Stephen True Anonymous (4) FRIEND (100+) Norman and Margaret Aarestad Lora Adams Frank J. Adler Paul and Susan Ahlquist Marilyn and Jules Amer Catherine H. Anderson Omar Angola Judith Babcock Mary E. Bahde Donald K Bain Stephen Bain Ms. Jennifer N. Bater Nancy Battan Brian Thomas Beagle Mr. Edguardo Belen Barbara Benedict Mr. and Mrs. Mitchell Benedict III Drs. Tomas and Diane Berl Dr. and Mrs. Dell Bernstein Arlene Bershof Janet Bishop Laura Bittner Steve Blatt Ms. Sandra Bonetti Kent Borges Libby Bortz Richard J. Bottjer Stanley and Virginia Boucher

OPE RA COLORADO 2014

Jeff and Shirley Bowen Brewster and Helen Boyd E. Candace Boyle and Thomas R. Salas Donald K. Braden Ms. Jay Breen William Bradford and Chin Tan Darrell Brown and Suzanne McNitt Packard Brown Lucinda and Edward Bryant Gordon & Ron Butz Ralph Candelaria Teri Carnahan Bette and Charles Carcano Brad Case and William McMechen Molly Castleberry Patricia Caulkins Clare Cavanaugh Prof. Gerald Chapman Ronald Charpentier Henry and Janet Claman Everett Clark Nathan Clifford Edith Clow Robert I. Cohen and Gloria J. Lilly Alan and InHye Como Mr. and Mrs. John P. Congdon Mr. Alexander J. Conley and Ms. Alysia D. Marino Kathleen M Cook David Cooper Vicki Cowart and Chris Hayes Jim Craig Brian D. Crane Lisa Crispin and Robert Downing Sara and Jim Culhane Margaret H. Cunningham Ian Currigan Cathy Dal Santo Michael and Bonnie Dalke Katy Daniel Ronald L. Deal Peter and Deedee Decker Roberta Depp Gregory Diamond Ursula and Tom Dickenson Marcus & Wendy Divita Max and Joyce Douglas Thomas and Brenda Douglis Peter and Marian Downs Mrs. Helen N. Driscoll Virgina Dudden Mrs. Laurie and Mr. Ben Duke III Philippe and Cynthia Dunoyer Mr. and Mrs. Wayne D. Eckerling Judie Eidson Joseph Elinoff Ted and Vivian Sheldon Epstein Richard Eslinger Judith Fahrenkrog Ms. Ann B. Fawcett Mary Lou Fenili Charles and Jill Ferguson Janet and Sheldon Fischer

Karin and Karin Fischer Mr. and Mrs. Robert Follett Jacqueline Frischknech Susan C. Frye and Caroline R. Frye Max Furer William Gardner Sally Gart Alan and Sally Gass Jennifer Ruth Gentry Tamara Goldstein Mr. and Mrs. Ricardo Goncalves Donna Good Liz Goodman and Robert Nauman Kazuo and Drusilla Gotow Anthony and Katherine Gottlieb Susan and John Gowen Brian Greffe, MD and Mark Donovan, Phd Martin and Renee Gross Gina Guy Regina Hackley Jerry Jean Hale Hazel E. Hanley Laura Harmacek Patricia and Joseph Harper Lynn and Ronald Harrington Mr. Richard H. Hart James and Martha Hartmann Hal and Jackie Hawkey Richard Haynes Mr. Richard W. Healy Mr. and Mrs. Phil G. Heinschel Patricia Hill Pascoe Richard and Sandra Hilt Sarah C. Hite Mary Ellen Holmes Philip Holt Joan and Bill Houlton Barbara Hughes Dennis Hurt Paul W. Husted John Hynes Daniel Isaman Mark E. Jacobs Brian and Catherine Janonis Marilyn Jensen Eric E. Johnson James and Jean Johnston Judy Johnston Donald and Susan Jones Mr. and Mrs. Howard B. Jordan Catherine and Larry Kaledo Kathryn Karford Mrs. Kerstin Karloev Patricia Kelly Eileen and Walter Kintsch Bonnie Kipple Kenneth Kirkland Loring and Carol Knoblauch Leonard Koch Michael Kolotylo Elmer and Doris Koneman Donna Kornfeld Rex Kramer and Cindy Crater

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ANNUAL CONTRIBUTORS Susan Kullman Mr. and Mrs. Maurice A. Larue Jr. Warren and Nancy Lawrence Richard Leaman Mr. Bernard Leason and Mrs. Frieda Sanidas Leason C. Nicholas and Mollie Lee Richard and Melinda Lee Charlie Leight Nancy Leonard Daniel Lichtin Sharon Lillis Robert & Gloria Lilly-Cohen Don and Ingrid Lindemann Randall Livingston Charles and Gretchen Lobitz Ms. Lois B. London Windham and Anne Loopesko John and Janet MacFarlane Dr. and Mrs. William Maclay Henry Mahlman K. Frederic and Linda Mai Caroline Malde Melissa Malde Cynthia Mancinelli Mr. and Mrs. Gilbert Y. Marchand Jeff Marshall and Shawn Finnegan John and Minda Marshall Merrylue Martin Pam and Mo Mathews Tanya Mathews William Mathews Jeanine Matney Sandy Mazarakis Judith Mcbride Mary McClanahan Myron McClellan and Lawrence Phillips Zoe McFarland William and Virginia McGehee Bob and Mereth Meade Dr. and Mrs. Alan Megibow Frank and Patricia Mercado Katherine Millett Mr. and Mrs. James Mills Jean Milofsky Frend John Miner and Jeff Lawhead Mr. George Mitchell Sue and Bill Mohrman Mr. and Mrs. Mike Monahan Bill Moninger Jon and Lynne Montague-Clouse Beverly Moore Warren Morrow Mrs. Susan Mostow Mark and Sally Murray John & Mary Muth W. Peterson and Nancy Nelson Richard L. Nielsen Kristen Nordenholz Dr. and Mrs. David A. Norris Maureen and Benjamin Nystuen Kent & Ruth Obee Kelli O’Brian

Larry O’Donnell Stephanie and Roger Oram Bonnie M. Orkow Ronald Y. Otsuka Mr. Ben H. Parker Margaret and Neil Peck Perry and Virginia Peine David and Rhona Pessel Dennis Peterson Sandra Pettijohn Collin Pitet Andrew R. Pleszkun Rich and Kim Plumridge Ann and Jeffrey Pontius Mrs. Kathryn L. Pride Katherine Raabe Marcia Ragonetti Pablo Ramos Ann Ratajczyk T. R. Reid Richard Replin and Elissa Stein Julie Reusser Maxine and Ed Richard Gene & Nancy Richards Donald Richman Jennie Ridgley Karyn K. Rieb Thomas L Riis Ronald and Ann Riley Sylvia and Byron Riley Gregory Robbins Paula and David Roney Jack and Oonagh Ross Mary Ann Ross Elizabeth Rumely Paul Ruotolo Ms. Suzanne B. Ryan Jack and Ruth Salter Dr. Frank and Mrs. Sherry Sargent Eleni Sarris Youlon D. Savage Ms. Erika L. Schafer Paul Scheele Gayla Scheid Sharon Schillereff Mr. Henry R. Schmoll Harvey and Mary Schuchman Jane Schultz-Burnett Bob and Lori Schuyler Elizabeth Schwarm-Glesner Jean Selders Fern Seltzer Bob and Barbara Shaklee Ms. Jo B. Shannon Helen Shreves Ms. Phyllis Shushan and Mr. Carl Shushan Ms. Shirley A. Simonson Patricia Simpson Gary Sims Catherine K. Skokan Michael Snow Jennifer Sobanet Norman Spivy

Marc and Kathryn Spritzer James B. Steed Larry and Neslihan Stephens William and Donna Stiles Jenene & James Stookesberry Bill and Shirley Stout Harold and Shirley Summers Drs. Morris and Ellen Susman Mrs. Mary Symonton Robin and James Tait Mr. and Mrs. Martin N. Tarabocchia Cheryl Tensfedlt Barbara Thorngren Lloyd & Barbara Timblin, Jr. Dr. and Ms. James Kennedy Todd Giles D. Toll M.D. Michael and Pegi Touff Mary Trabold Elizabeth Tracey Alice and Frank Traylor Robert C. Tripp Lucile Trueblood Susan Tucker Julie Vance

Gretchen Vanderwerf and Gordon Jones Sandra Vinnik Harry and Terri Vogler Mary and Terry Vogt Bernd Wachter Norma and George Wagoner Shirley Ward Ms. Carley Warren Ms. Robin Stewart and Mr. Kirk Weber Dr. David Wedmore Sioux Wells Ms. Cia A. Wenzel Ms. Marilyn L. Wheeler Anne Williams Ms. Beverly Williams Hilda Wing Jane Wingle Ross Yeoman and Gayler Harford Dr. and Mrs. Raymond Yost Ms. Phyllis J. Young Dr. Jack and Mrs. Barbara Zable Sue and Carl Zimet Anonymous (3)

Every effort has been made to ensure that accuracy of our donor list.

However, if your name is incorrectly listed, please accept our sincere apologies and contact Glenda Masters at 303.468.2029. Although space limitations only allow us to list donors whose gifts were $100 and above to the Annual Fund and $500 and above for the 2013 Stories That Sing Campaign, we are deeply grateful for the support of all our dedicated contributors.

VOLUNTEERS Sandy Adams Stan & Marianne Anderson Eric Bard Laurel Barsa Irene Betin Barbara Bower Jeff Brown Joan Camozzi Joyce de Roos Stephen Dilts Peggy Engel Victor Fabrizio Terry Frazier Nancy Fredricks Sigrid Freese James Herringer Robert Kahn Dean & Madge Klassen Paull Kupler

Sally Lammers Susi Landers Melinda Leach Heather MacKinnon Joanne Moldow Frank Parce Eva Phibbs Donna Ries Ellie Roberts Ruth Schoening Ron Sherbert Dean & Syrma Sotiriou Mary Stirling Jenene Stookesberry Linda Vigor Candice Watts Wendy Wendell Christel Woody Frank Zoske

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BOARD OFFICERS

Michael Hughes Chairman Marcia Robinson President Kenneth Barrow Chair Emeritus Martha Tracey Treasurer Carol Crossin Whitley Secretary and Vice President Dirk deRoos Vice President DIRECTORS

Bruce Allen

Ovation! Magazine

Sheila Bisenius

and In-Theatre programs

Michael Bock

are produced

Suzanne Dost Bucy

for Opera Colorado

Ellie Caulkins Lifetime Honorary Chair

by The Publishing House.

Mary Conroy Jack Finlaw

Angie Flachman-Johnson Publisher

Craig Johnson Hon. Kenneth M. Laff

Wilbur E. Flachman President & Founder

William Maniatis Muffy Moore

Annette Allen Art Director Production Coordinator

Kevin D. O’Connor Kent Rice Ex Officio

For advertising information 303-428-9529

Gerald Saul

www.pub-house.com

Merrill Shields

www.coloradoartspubs.com

Shirley Smith Byron Watson Britney Weil Larry Zimmer HONORARY DIRECTORS

STAFF

GREG CARPENTER General Director ADMINISTRATION

Darrel Curtice Director of Finance & Administration Julie Nowasell Staff Accountant ARTISTIC

Ari Pelto Artistic Advisor DEVELOPMENT AND MARKETING

Camille Spaccavento Joyce de Roos Molly Epstein Nicholas Geyer Luke Lindholm Glenda Masters Ed Mickens Rachel Perez Resnicow Schroeder Assoc

EDUCATION

Cherity Koepke Julie Nowasell Betsy Schwarm Elena Kalahar Alexandra Kotis

Jill Irvine Crow Hugh Grant Jeremy Kinney Loring W. Knoblauch Lifetime Honorary Director

PRODUCTION

YOUNG ARTISTS PROGRAM

Cherity Koepke Taylor Baldwin Colleen Jackson Louise Rogan Brett Sprague Jared Guest Benjamin Sieverding

Director Accompanist Soprano Mezzo-soprano Tenor Baritone Bass

DIRECTORY TICKETS

BOX OFFICE LOCATION

ADMINISTRATIVE OFFICES

ELLIE CAULKINS OPERA HOUSE

OperaColorado.org 303.468.2030 695 S. Colorado Blvd, Suite 20 Denver, CO 80246 303.778.1500 695 S. Colorado Blvd, Suite 20 Denver, CO 80246 1106 14th Street (14th and Curtis Street)

The Ellie Caulkins Opera House is part of the Denver Performing Arts Complex, owned and operated by the City and County of Denver, Division of Arts & Venues LOST AND FOUND DINING AT DPAC

Pamela Merrill Jeremy Shamos Susan Shamos

Director of Education & Community Engagement Education Assistant Pre-Performance Lecturer Intern Intern

Katie Preissner Production Manager Ann Piano Costume Director

Susan Adams Nellie Mae Duman

Director of External Affairs & Marketing Volunteer Coordinator Group Sales Associate Annual Fund and Marketing Assistant Patron Services Manager Annual Fund Manager Associate Patron Services Manager Marketing Manager Public Relations

ONLINE RESERVATIONS

720.865.4220 Kevin Taylor’s at the Opera House 303.640.1012 Limelight Supper Club 720.227.9984 Restaurantkevintaylor.com

FI N D US ON:

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