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From Rigoletto to Carmen: Opera in Transition The works featured on Opera Colorado’s 2014 season span barely a quarter century, but what a quarter century it was!


Giuseppe Verdi

Teatro La Fenice in Venice, Italy

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his third quarter of the 19th century saw such operatic milestones as Rigoletto, La Traviata, Faust, Tristan und Isolde, Don Carlos, Roméo et Juliette, Die Meistersinger, Aida, and Carmen. It is not a list of every great opera ever written, but certainly many of them, and it was a time of evolution. At mid-century, the fireworks of “bel canto” display still captivated audiences. Twenty-five years later, gritty realism was seizing the spotlight. Join Opera Colorado in 2014 for an immersion in the changing world of opera. Verdi’s Rigoletto was not his first great success. However, premiering March 11, 1857, at Venice’s La Fenice, it is the earliest of his works to still enjoy frequent performances today. Without impressive musical craft and audience-capturing emotional impact, Rigoletto would not enjoy that honor. Yet it almost missed that place in the spotlight. Censors threatened to keep it from the stage, alleging that its portrayal of a corrupt monarch would undermine public confidence in the government. Prolonged and tense negotiations were required to bring the work to the public. One point never at debate was the quality of Rigoletto’s music and the way in which it perfectly captured the preferred operatic style of the day. Socalled “bel canto” operas spotlighted the singers more than any other aspect of the production. Orchestra, sets, and costumes all took a back seat to voices; “bel canto” literally means “beautiful singing.” Every principal character, in this case, especially the tenor, is given elaborate arias to showcase vocal technique. Such arias also allow insight into that character’s personality, and the issues that drive them, but do little to advance the plot. Bel canto operas were more about singing than story-telling. An interesting story was useful, but was not the principal reason for the opera’s existence. Moreover, if that story presented characters that seemed little in touch with everyday life, no one would have bothered to point out the fact. As long as the music was well-suited for flamboyant singing and if the performers were up to the task of singing it, that was 90% of the battle. Singing Rigoletto brought particular challenges, not different from those of other bel canto operas, but perhaps more pronounced. The leading tenor Continued on page 6



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From Rigoletto to Carmen... has two arias, both requiring a fresh and nimble voice and rock-solid high notes. It is not a role for the faint of heart. The leading soprano’s aria calls for fewer quicksilver notes, but more sustained and languid phrasing; for her, the difficulty becomes one of breath support and maintaining purity of tone. As for the title character, he must manage an almost continual gruff tension without sacrificing vocal quality, or, for that matter, vocal health. It is not a long opera, but it still tests its principal singers to the utmost. A quarter century later, when Bizet’s Carmen premiered in Paris at the OpéraComique March 3, 1875, tastes were beginning to change. Beautiful singing was still important; after all, it matters even in the 21st century. However, increasing focus was coming to be placed upon dramatic impact and also upon colorfully exotic settings. A Renaissance tale might be exotic in time, but was still of the past. New schools of thought began to experiment with operatic stories drawing upon vivid atmosphere without consulting history books, and few cultures were more vivid than that of the Gypsies. Indeed, the title character of Carmen is herself a gypsy. However, equally exotic – at least from the point of view of a Frenchman such as Bizet - was Spain, and when Bizet composed the opera, he made a point of using the rhythms of actual Spanish dances, as well as those evocative of a more Bohemian mood for his Gypsy characters. Grand scenes involving Bizet’s Gypsy characters are suffused with a swirling energy akin to that of actual Gypsy dances. Carmen herself, however, has apparently lived in Spain long enough to assimilate some Spanish folk styles, along with her fiery Gypsy spirit. Her first aria borrows the spirit of the Spanish habanera, her second of the Seguidilla. Both occur in Act One, not far removed from one another, a fact that forces the singer – and the conductor – to be aware of the need to shade them rather differently, for dramatic and musical effect. These ethnic colors were exactly the right sort of excitement for the day. Measured by that standard alone, the opera would have immediately triumphed. However, Carmen herself was apparently too risqué for society’s mores. One critic declared “There is no plan, no unity in its style… it is neither dramatic nor scenic.” Another critic caustically advised, “Mademoiselle Carmen should temper her passions.” Bizet would go to his grave sure that he has composed one of the most exciting failures in operatic history. Mademoiselle Carmen had simply been a bit ahead of her time. As Tchaikovsky would predict: “Ten years hence Carmen will be the most popular opera in the world.” It should be noted that Bizet did not invent the notion of opera having a strong dramatic impact. Verdi, too, believed in the power of drama, in part for its own sake, though also for the ways in which vocal display could ride these waves of emotional intensity. However, by the time of Carmen’s premiere, Verdi was in his sixties, and though he would live another quarter century, most of his greatest works were behind him. Bizet’s Carmen was a glimpse of the future, a future that would bring with it the works of Puccini and other operatic greats. With Opera Colorado’s 2014 season, listeners can experience this crucial transition from the older world of opera to the new. Fabulous singing and dramatic power: that’s the best of both worlds. Audience members of the mid19th century were able to witness that evolution first hand. We’ll have it on stage at the Ellie this coming season. Article by Betsy Schwarm, author of “Classical Music Insights” and “Operatic Insights”

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Georges Bizet

Opéra-Comique in Paris, France

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BOARD OF DIRECTORS Officers Michael Hughes, Chair Kenneth Barrow, Chair Emeritus Ellie Caulkins, Lifetime Honorary Chair Marcia Robinson, President Charles Kafadar, Treasurer, President of the Opera Colorado Foundation Susan Adams, Secretary Dirk de Roos, Vice President Carol Crossin Whitley, Vice President

Voicing Support for Opera Colorado’s Future


t was a pleasure to have announced our exciting new 2014 Season from the stage of the Ellie Caulkins Opera House during our final performances of Don Giovanni. The announcement had a particular significance this year. It signaled that our fundraising has been successful, the outpouring of generosity from the community has been gratifying, and Opera Colorado is working through its financial challenges in an aggressive way to ensure that we are here for another 30 years! To all of you who have been a voice in our Stories That Sing Campaign, I send my most heartfelt thanks.

Committee Chairs Stephen L. Dilts, Co-Chair, Education & Community Programs Joy Dinsdale, Co-Chair, Education & Community Programs Craig Johnson, Chair, Development Committee Larry Zimmer, Chair, Audience Development Committee Directors Bruce Allen Sheila Bisenius Michael Bock Suzanne Dost Bucy Mary Conroy Jill Irvine Crow, Honorary Director Nellie Mae Duman, Honorary Director Jack Finlaw Hugh Grant, Honorary Director Charles Kafadar Ursula Kafadar, Honorary Director Jeremy Kinney, Honorary Director Loring W. Knoblauch, Lifetime Honorary Director The Honorable Kenneth M. Laff

Kalleen Malone William Maniatis Kelly McCourt Pamela Merrill Mary French Moore Gerald Saul Alessandra Schulein Jeremy Shamos, Honorary Director Susan Shamos, Honorary Director Merrill Shields, Honorary Director Shirley Smith Harry Sterling Robert Swift Martha Tracey Byron Watson Britney Weil

OPERA COLORADO STAFF GREG CARPENTER, GENERAL DIRECTOR ADMINISTRATION Darrel Curtice, Director of Finance & Administration Julie Nowasell, Staff Accountant

Although we still have some way to go before we can proclaim complete success, we have raised over $1.4 million in regular Annual Fund and Stories That Sing Campaign contributions in the first 4 months of the year. If you have not yet joined our family of supporters, I hope you will take the opportunity to make a contribution while you purchase your season tickets. Our goal is to raise $500,000 before the 30th of June and your addon gift will provide a significant boost to our campaign. The 2014 Season is filled with remarkable singing, gripping drama and some of the most memorable music opera has to offer. With Verdi’s Rigoletto and Bizet’s Carmen, it’s a season of love, deception and revenge – all of the classic elements that make opera the art form we love most.

DEVELOPMENT Meghan Benedetto, Manager of Development Isis King, Manager of Development Systems

I hope you will join us for our 2014 Season and our Stories That Sing campaign. Our new season will sing a little louder and higher with your support!

EDUCATION Cherity Koepke, Director of Education & Community Programs Emma Martin, Education Intern

Thank you.

MARKETING Camille Spaccavento, Director of Marketing and External Affairs Erin Acheson, Marketing & Promotions Coordinator Laura Kirby, Ticket Services Manager Ed Mickens, Asst. Ticket Services Manager

OPERA COLORADO 695 S. Colorado Blvd., Suite 20, Denver, CO 80246 Tel. 303.778.1500 | Tickets: 303.468.2030 Ticketmaster: 1.800.982.ARTS TTY for Ticketmaster: 1.800.755.6244

OVATION! | Spring 2013 | Page 8

Greg Carpenter, General Director


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RENÉ BARBERA ©Tim Fuller/Arizona Opera



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An Opera Rookie’s Primer Most Opera Colorado subscribers are likely to have seen the operas of its 2014 season – Rigoletto and Carmen – before, possibly more than once. We know the hit tunes and the stories. We’re looking forward to seeing them again as a familiar pleasure. But what about our uninitiated friends and co-workers?

Marguerita Sylva as Carmen

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ave they perhaps at times expressed bemusement at our fondness for the art form? If so, there is no time like the present to introduce them to a new experience, as both Rigoletto and Carmen contain some of the best – and most accessible – qualities of opera. Helping them to have a good start increases the likelihood that they’ll recognize its appeal. With that in mind, here are some thoughts to share: Seven Truths about Opera • Neither is prohibitively long. Including intermissions, Carmen is about three hours in length, Rigoletto less. Any single part of the Lord of the Rings film trilogy was longer than that, and those lacked intermissions. • The stories are easy to follow. Rigoletto has a vengeful father trying to protect his daughter from inappropriate attentions; Carmen is a “Fatal Attraction”-like tale of a former lover who won’t take no for an answer. In real life, one would like to see their problems resolved without murder, but in opera – as in film or literature – that might not happen. • There will be no hefty sopranos in Viking helmets and no one hunting for “wabbits.” We promise. Put all operatic stereotypes out of your mind. Even if the singers aren’t dressed in everyday business wear, they won’t look like cartoon characters. For example, check out the pictures in this article. Two are from Opera Colorado productions, one from a 19th century production of Carmen, and one from the current Metropolitan Opera production of Rigoletto. Elmer Fudd is nowhere in sight! • Even an opera rookie already knows more opera than he or she may suspect. So this season with Opera Colorado, one can discover where the Toreador’s Song originated (Carmen), and Rigoletto contains a tenor aria that has served to advertise many an Italian restaurant. It’s called “La donna e mobile;” both are easy to find on the internet. • Although neither is sung in English, both will come complete with read-along translations in English (or, by choice, Spanish) right in front of every audience member. You’ll catch every word of the drama and never lose track of the action. Since you can read faster than they can sing, you’ll still be able to keep up with the action on stage. • Admittedly, the title characters may not be the sorts of people you would invite over for coffee; one is likely too angry to be good company, the other too mercurial. However, their adventures are exciting and engaging to watch from a distance, especially with dramatic music to support them. Both stories move quickly enough to keep the attention of any likely listener. • Long before music videos, opera was the original multi-media entertainment: a play and a concert rolled into one, often with an element of dance as well. In fact, opera was the forerunner of Broadway musicals, so anyone who enjoyed Les Miserables should give opera a try. Unless a person is looking specifically for hockey skates or other sporting paraphernalia, opera has something for everyone. It is human drama and powerful music all in a single package.

Once you’ve shared these seven truths about opera with the uninitiated, move on to personal perspective. For example: • How did you discover opera? Were you raised to it by your parents? Introduced to it by a friend or romantic partner? Did you encounter it on your own out of curiosity? • Once you discovered it, what made you stick with it? The beauty of the music? The pull of the story? The excitement of the overall experience? The appeal of witnessing talented artists at work? • What about the appeal of live opera performances compared to CDs and films? Is it the immediacy of being there in person immersed in the music? The group experience of sharing it with many other like-minded persons? The mingling with the crowd to overhear their impressions and compare them to your own? Helping the uninitiated to understand what it means to you may help them to realize what it could mean to them. After all, they already like you, so they may be inclined to try something that you like. It works with restaurants; why not music? Open the door to opera and help them step through it. Here’s how: • Share this article with them. • Raid your CD collection or the internet to let them hear some excerpts from Rigoletto and Carmen. Toreador and “La donna e mobile” would be a good start. Consider also the Habanera and the Seguidilla (Carmen) and “Questa o quella” and “Caro nome” (Rigoletto). Rigoletto also contains a fabulous quartet that was featured prominently in the recent Dustin Hoffmann film “Quartet.” If your friends saw that film, encourage them to see the music in context. • Summarize their stories: you can find synopses of both on Opera Colorado’s website. • Challenge them to join you for a performance. For further persuasion, make the tickets your treat; let your guest purchase the drinks at intermission. Get there in time for the pre-opera talk to provide them with further perspective. • Then a few days later over coffee, invite them to share their impressions of this new experience. They’ll learn something about an art form you love, and you may learn something about them. Opera is an art form we can all enjoy; let’s spread the word!

Opera Colorado’s 2005 production of Carmen featuring Denyce Graves

Article by Betsy Schwarm, author of “Classical Music Insights” and “Operatic Insights”

Zwetan Michailow as The Duke of Mantua and Yalun Zhang as Rigoletto in Opera Colorado’s 1993 production Page 11 | Spring 2013 | OVATION!

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What’s Next for the 2012-2013 Opera Colorado Young Artists?


e have come to that time in our season when we must prepare to part ways with our current Young Artists. This über-talented group of young singers has been the face of Opera Colorado to dozens of communities across the region over the past seven months, bringing opera, laughter – and Mr. Quacksworth – to thousands. It is a bittersweet time…we don’t want them to go, but we cannot wait to see them flourish in the next steps of their careers. It sounds like they will keep busy:

Morgan: I am going to study German and begin preparing new repertoire for the fall audition circuit. I will also take advantage of having a little break and plan to do some traveling during the summer – Disney World here I come! Cassidy: Later this summer I will be moving to Chicago to become a Young Artist with Chicago Opera Theater in their joint program with the Chicago College of Performing Arts. It is a two year, full scholarship program where I will receive continued vocal and musical training from CCPA while getting performance experience with COT. I’ve lived in Denver for my entire life, but I am excited to move to a new city and explore all that Chicago has to offer. Joshua: In June, I will be participating in the Green Mountain Opera Festival in Vermont where I will be singing the role of The Mayor in Albert Herring and covering Don Ottavio in Don Giovanni. I will head to Europe in July for sacred music performances in Coutances, France, and Aschaffenburg, Germany, as well as singing Don Ottavio in Sáraspotak, Hungary. Alex: This summer I will be joining the Merola Opera Training Program in San Francisco, performing opera scenes in the Schwabacher Concert and covering the role of Tarquinius in The Rape of Lucretia. Starting in the fall, I will be a resident artist with Pittsburgh Opera for two years and will make my professional premiere as Schaunard in La bohème. Jared: I will be attending Opera in the Ozarks as a part of the Inspiration Point Fine Arts Colony this summer in Eureka Springs, Arkansas. I have been named the National Scholarship Winner for the year from the National Federation of Music Clubs, which covers my full tuition. I will be singing Belcore in L’elisir d’amore and Sharpless in Madama Butterfly. Then, I will be back with YOU for the 2014 Opera Colorado Young Artists Residency and I can’t wait!!!! OVATION! | Spring 2013 | Page 14

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Looking Ahead in Education By Cherity Koepke, Director of Education & Community Programs

The Opera Colorado Young Artists at an in-school workshop


he end of the 2012-2013 school year is fast approaching and summer is beckoning. Opera Colorado’s Education & Community Programs department is also finishing our final programs for the season. With the calendar in May absolutely jam-packed, it can be hard to find time to reflect on what we’ve accomplished and get a glimpse of what lies ahead before we have to move ahead. While the final numbers aren’t in yet, it’s safe to say that we reached well over 30,000 students and adults again this season. That is amazing to me. The Opera Colorado Young Artists have been a huge part of the outreach effort. They’ve shared the magic of opera (and yes, I really do believe opera is magical) with thousands of students across Colorado. They’ve performed on the stage of the Ellie Caulkins Opera House and grown so much as individual artists. It has been such a pleasure to work with them. At the end of May, the Young Artists will be on their way to their next program or gig and I’ll have to get ready for a new group. I’ve worked with my share of students during the season as well, and it’s been a stellar year. A highlight for me this year was our first Generation OC – Page to Stage program at Frontier Charter School in Greeley. Guiding students as they wrote, produced and performed their own original opera inspired by Hawthorne’s The Scarlet Letter was something that I will never forget. I still smile when I hear them telling me how much they’ve come to love opera because of this program. The upcoming 2013-2014 schedule comes with a new set of challenges. We’ve made some difficult, but prudent, decisions to stabilize the company and get us moving forward. One decision was to temporarily take the Young Artist Residency down to a five month program, which means I won’t have them here in the fall. That radically changes the landscape of the programs we offer. I’m taking this challenge as an opportunity to really get into schools myself this fall and expand our In-School Workshops and Generation OC program. It’s a chance for me to strengthen and expand that side of our programming. OVATION! | Spring 2013 | Page 16

Once the Young Artists arrive in January 2014, we will hit the ground running to get both of our touring shows up and ready to perform in just three weeks. We’ll be touring abridged versions of The Barber of Seville and Romeo and Juliet, neither of which are easy shows. I’ll also have to get the Young Artists ready for several Arias & Ensembles programs within a few weeks of their arrival. We’re going to have to be efficient and focused. An environment like this can really help performers hone their skills and that’s one of my top goals for our Young Artists during their time with us. Once the touring shows are up and running, we shift gears and move into what I call “main stage mode,” when we begin rehearsing for the season’s main stage operas. I am so excited about our 2014 season of Rigoletto and Carmen. The Young Artists will be involved in both, and Carmen will be the Student Matinee for the season. There is simply no way of describing what it’s like for me to be able to sit in the Ellie and watch 2,000 students experience opera, many for the first time. I know for a fact, because I’ve seen their ticket stubs, that programs like these are creating audiences for the future. That’s part of what we have to be doing if we want opera to thrive. After completing the main stage season, we will need to shift gears again. With the new dates for the 2014 season, we’re going to move our Greater Colorado Annual Tour into May. Tour is when we hit the road for about three weeks and take opera to communities that typically don’t have access to it. Over the past few years, we’ve gone on tour in March, and while it’s been wonderful, it’s also been difficult to plan due to Spring Break and weather. Going on tour in May means that school will be in session and snow…well this is Colorado, so we’ll just have to wait and see. This is just a small snapshot of what’s coming up. There’s the new Education brochure to generate, programs to re-invent and others to create entirely. Time is going to fly, that’s for certain. The work is never done, but that’s part of what keeps me going. There are people out there who haven’t experienced opera. I hope to change that.

Greeley students take a bow after their performance of The Scarlet Letter

josh groban with the Colorado Symphony



Introducing the 2014 Opera Colorado Young Artists! We are thrilled to announce these talented young singers as the incoming Young Artists: Colleen Jackson (Soprano) is originally from Jacksonville, FL, and received a Bachelor of Music in Voice Performance from Florida State University. A recent graduate of the University of Northern Colorado’s Master of Music program, Colleen 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. During the summer of 2011, she sang the Erste Dame in Die Zauberflöte with Opera Classica Europa in Germany. Most recently she sang her debut as Violetta in Verdi’s La Traviata as an alumna guest artist with UNC. Colleen is thrilled to join the Opera Colorado family and is eager to take the stage with her fellow young artists. 2014 Opera Colorado Young Artist roles include: Juliet (Romeo and Juliet, touring production), Berta (The Barber of Seville, touring production), Micaela (Carmen, student matinee) Louise Rogan (Mezzo-soprano) hails from Manchester, UK. She received her Diploma in Vocal and Opera Studies from the Royal Northern College of Music in 2009 and a Bachelor’s of Music degree from the Chicago College of Performing Arts in 2010. In 2012, she graduated from the Professional Diploma in Opera program at the Chicago College of Performing Arts. Her performance highlights at Chicago College of Performing Arts include Pamela (New York Stories), Third Lady (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, Louise covered the roles of Second Lady in Die Zauberflöte and Masha in Moscow Cheryomushki. She was the winner of the Sixth Annual Elgin Opera Vocal Competition in 2012. Louise is delighted to be joining Opera Colorado as a Young Artist for the 2014 season. 2014 Opera Colorado Young Artist roles include: Carmen (Carmen, student matinee), Stephano/Gertrude (Romeo and Juliet, touring production), Rosina (The Barber of Seville, touring production) Brett Sprague (Tenor) is originally from Lakewood, WA. He 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. He has performed extensively in the United States and Europe. Brett’s past credits include Peter Grimes (Chautauqua Opera), Don Pasquale, (Amore Opera), The Most Happy Fella (Dicapo Opera), Die Zauberflöte (New York Lyric Opera Theatre), The Ghosts of Versailles, Così fan tutte, Thaïs, and La Vida Breve (Manhattan School of Music’s Opera Theatre), Lucia di OVATION! | Spring 2013 | Page 18

Lammermoor and Falstaff (MSM’s Opera Repertory Ensemble), L’elisir d’amore (Tuscia Opera festival), and Signor Deluso, Gianni Schicchi and Die Fledermaus (Opera Chapman). Brett has also performed as a soloist at Carnegie Hall with the Verdi Square Festival for the Arts. Brett is looking forward to the many opportunities and experiences that will come his way as a Young Artist with Opera Colorado. 2014 Opera Colorado Young Artist roles include: Almaviva (The Barber of Seville, touring production), Romeo (Romeo and Juliet, touring production), Don José (Carmen, student matinee) Jared Guest (Baritone) grew up in the suburbs of Orlando and received a Bachelor of Music degree in Voice Performance from Florida State University in Tallahassee. He earned his Master of Music degree in Voice Performance and Opera from the University of Houston’s Moores School of Music in 2012. Jared has performed in a wide range of operas such as Der Rosenkavalier, Falstaff, Amelia, Il Postino, Der Zauberflöte, La Vie Parisienne, Don Giovanni, and Tosca. In summer 2012, he made his first professional opera recording with Lone Star Lyric Opera singing the role of Hans in the unique oneact opera Hans in Luck by Omari Tau based on a Grimm fairy-tale. In his first year as an Opera Colorado Young Artist, Jared performed the role of Grégorio in the company’s main stage production of Romeo and Juliet and the role of Frère Laurent for the student matinee, as well as Bartolo (The Barber of Seville) and Zuniga/Narrator (Carmen) in the touring productions. Jared is extremely excited to return for a second year in the residency. 2014 Opera Colorado Young Artist roles include: Escamillo (Carmen, student matinee), Mercutio (Romeo and Juliet, touring production), Figaro (The Barber of Seville, touring production) Benjamin Sieverding (Bass) is originally from Sioux Falls, SD. He recently completed his post-graduate studies in Vocal Performance at the University of Michigan, where he also received his Master of Music degree under the tutelage of Stephen West. In 2012, he was a winner of the Nebraska District and an Upper Midwest Region finalist of the Metropolitan National Council Auditions. Benjamin has performed in productions at both the university and regional level. 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 the summer of 2011, he was seen as Zuniga in Carmen with Arbor Opera Theater and Otto in the new world premiere of Jukka Linkola’s Rockland with Pine Mountain Music Festival. In summer 2013, he joins The Santa Fe Opera as an apprentice artist, singing and covering small roles in the world premiere of Theodore Morrison’s Oscar. 2014 Opera Colorado Young Artist roles include: Capulet/Tybalt (Romeo and Juliet, touring production), Bartolo (The Barber of Seville, touring production), Zuniga (Carmen, student matinee)

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Photo: Sandra Still

Page 19 | Spring 2013 | OVATION!

Save the Date

Opera Colorado's 2013 Gala S a t u rd a y, S e p t e m b e r 2 1 , 2 0 1 3 Ellie Caulkins Opera House

© Jennifer Koskinen

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Cocktails, Conversation, & Tapas Live Entertainment on the Baby Grand Now Serving Champagne Piano Brunch Sunday 11-2pm 1446 South Broadway In the Heart of Antique Row 720-353-4701

The Cheesecake Factory features an extensive and creative menu of more than 200 dishes made fresh from scratch, along with more than 50 low-calorie “SkinnyLicious™” dishes and 50 signature cheesecakes & desserts. Enjoy lunch, dinner, late night dining and Sunday Brunch.

1201 16th Street • Tabor Center • Denver (Just a short walk from the Performing Arts Complex, at the corner of 16th & Larimer St.


Bring the opera home with you! New Opera Colorado merchandise is available for sale in our lobby. Show the world you are an Opera Colorado fan! Next time you come to the opera, stop by and pick up a souvenir to remember your trip to Opera Colorado.

Ovation! Magazine and In-Theatre programs are produced for Opera Colorado by The Publishing House. Angie Flachman-Johnson: Publisher Wilbur E. Flachman: President & Founder Annette Allen: Art Director, Production Coordinator For advertising information, call 303-428-9529

Opera Colorado is grateful for support from the Scientific and Cultural Facilities District (SCFD). Ovation! News, Events and Activities of Opera Colorado Volume 14, Issue 3. Published quarterly for the benefit of friends and supporters of Opera Colorado, 695 S. Colorado Blvd. Ste. 20, Denver, CO 80246. Phone: 303.778.1500.

Find us at: OVATION! | Spring 2013 | Page 22

Produced by Opera Colorado’s Marketing and Development Departments. Editor: Camille Spaccavento Assistant Editor: Erin Acheson


Denver The Shops at Nor th Creek 105 Fillmore Street - (303) 388-0700

Spring 2013 Ovation  

Ovation news magazine for Spring 2013