CU Presents Magazine Artist Series Winter 2015, Nov. 9, 2015

Irish Chamber Orchestra, Nov. 6

Soweto Gospel Choir, Dec. 11

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Contents

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Irish Chamber Orchestra...............6 Calendar ........................................8 Holliday Festival...........................12 Soweto Gospel Choir..................14 Faculty Tuesdays ........................24 Artist Series donors .....................26 TakĂĄcs Quartet donors ...............30 Eklund Opera donors ..................32 Personnel lists .............................34

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Irish Chamber Orchestra On Nov. 6, the “razor-sharp, fully-seasoned” Irish Chamber Orchestra (Chicago Tribune) returns to Boulder by popular demand, conducted by Gábor Takács-Nagy and featuring internationally renowned cellist István Várdai.

“I’m very happy that, after 23 years, I’m returning to Boulder where I lived for six years between 1986 and 1992,” says Hungarian-born violinist and conductor Takács-Nagy, a founding member in 1975 of the Takács Quartet—in-residence at the CU Boulder College of Music—and now Principal Artistic Partner of the Irish Chamber Orchestra since January 2013. (Of the original Takács Quartet, violinist Károly Schranz and cellist András Fejér remain.)

“I can hardly wait to be on stage in Boulder, and to meet with colleagues and friends,” continues Takács-Nagy.

“I’m also very proud to perform with the ICO’s worldclass musicians and the gifted Hungarian cellist, Várdai.”

Várdai, 30, has received prizes and awards at numerous international music competitions. He won the David Popper International Music Competition in Budapest three times, and was awarded top prizes at the Grand Prix Emanuel Feuerman in Berlin and the International Johannes Brahms Competition in Pörtschach, Austria.

“His playing was commendable for its fluidity and virtuosity, distinguished by both a fleet-fingered lightness and a rich timbre,” wrote culture writer Vivien Schweitzer in The New York Times of Várdai's musicianship.

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According to Takács-Nagy, “We’ll be performing a very exciting, energetic and colorful program in Boulder,” including Bach’s Cello Concerto in A Major, Wq. 172, and Haydn’s Cello Concerto in C Major—as well as Haydn’s Symphony No. 49 in F minor (“La passione”) and Bartók’s Divertimento for String Orchestra.

“Hungarians are not only proud of Bartók, but also Haydn,” says Takács-Nagy. “They consider Haydn to be a little bit Hungarian, too! For much of his career, he was musician and composer for the Hungarian noble family, the Esterházys.”

This tour is sponsored by Culture Ireland.

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Irish Chamber Orchestra, Gábor Takács-Nagy, conductor Friday, Nov. 6, 2015, 7:30 p.m.

The “razor-sharp, fully-seasoned” Irish Chamber Orchestra (Chicago Tribune), returns to Boulder by popular demand, conducted by original Takács Quartet member Gábor Takács-Nagy and featuring internationally renowned cellist Istvan Várdai.

Soweto Gospel Choir

Friday, Dec. 11, 2015, 7:30 p.m.

South Africa’s 24-voice Soweto Gospel Choir—“Nothing less than an international treasure” (JazzTimes)—will bring light and spirit to your holiday season with classic Christmas songs and moving African gospel.

Diavolo

Thursday, Jan. 21, 2016, 7:30 p.m.

Equal parts Cirque de Soleil, brilliant choreography and “architecture in motion,” Diavolo turns death-defying dancers free in a super-sized playground of wheels, bowls and walls in a unique display of kinetic drama.

BODYTRAFFIC

Sunday, Feb. 14, 2016, 7:30 p.m.

Drop gritty, contemporary New York and European choreographers into the fastpaced, freeway world of Los Angeles, sprinkle with energetic young talent, and you get the “super-fast, super-sexy, super-expressive intensity” (Dance View Times) of BODYTRAFFIC.

Rising Stars of The Metropolitan Opera

Tuesday, March 1, 2016, 7:30 p.m.

The Met has launched the careers of opera greats Renée Fleming, Thomas Hampson and many others. Don’t miss this chance to hear the brightest new stars performing arias, duets and ensembles by the world’s greatest composers.

Indigo Girls with the CU Symphony Orchestra

Thursday, March 31, 2016, 7:30 p.m.

Amy Ray and Emily Saliers, the platinum-selling duo Indigo Girls, enrich a stellar quarter-century career with a symphonic performance of their moving, melodic music, including such hits as "Closer to Fine" and "Land of Canaan."

Pablo Ziegler and Lara St. John, Piazzolla Central Park Concert Redux

Friday, April 15, 2016, 7:30 p.m.

Composer-pianist Ziegler and violinist St. John perform beloved tunes from tango maestro Astor Piazzolla’s famous 1987 Central Park concert and originals by Ziegler, who takes the tango to heights “undreamed of by Piazzolla.” (Chicago Tribune)

The Takács Quartet

The Grammy Award-winning chamber quartet has been moving audiences and selling out concerts for three decades at CU-Boulder. Their irresistible blend of virtuosic technique and engaging personality has led The Guardian (London) to proclaim, “The Takács Quartet are matchless, their supreme artistry manifest at every level.”

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Sunday, Nov. 8, 2015, 4:00 p.m.

Monday, Nov. 9, 2015, 7:30 p.m.

Sunday, Jan. 10, 2016, 4:00 p.m.

Monday, Jan. 11, 2016, 7:30 p.m.

Monday, Feb. 29, 2016, 7:30 p.m.

Sunday, April 24, 2016, 4:00 p.m.

Monday, April 25, 2016, 7:30 p.m.

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Holiday Festival 2015

Dec. 4-6, 2015 A lively program of seasonal music and festive holiday decorations in Macky Auditorium inspire sold-out audiences and make the Holiday Festival a beloved annual tradition.

Choirs, orchestra, ensembles and faculty soloists from the CU-Boulder College of Music invite you to share the joy and warmth of the season with your family and friends.

Dialogues of the Carmelites, Sung in English

by Francis Poulenc March 11-13, 2016 Francis Poulenc’s dark, intense 1957 opera—based on the persecution of nuns at the convent at Campiegne during the French Revolution—fearlessly grapples with such timeless human emotions as fear, despair and faith. “As rich as a vintage port, the opera delivers a soft and melodic score that undulates with (dark) and complex themes … as tragically current as (they are) old.” (Metro Weekly) The Tender Land, Sung in English

by Aaron Copland April 21-24, 2016 Copland was inspired to write his only full-length opera by the Depression-era photographs of Walker Evans and James Agee’s "Let Us Now Praise Famous Men." This classic tale of small-town America evokes everything from "The Grapes of Wrath" to "Our Town" and "Oklahoma!" “Copland in his Americana mode.…(A)n affecting, honest and musically elegant work…bustling rhythmic intensity and pungent chromatic bite.” (The New York Times)

Fiddler on the Roof, Nov. 6-15, 2015

Music by Jerry Bock, Book by Joseph Stein, Lyrics by Sheldon Harnick.

Directed and choreographed by Gary John La Rosa, Roe Green Visiting Theatre Artist Drawing on the richly humorous and humane tales of Sholem Aleichem, this musical tells the story of a poor, Jewish dairyman, his wife and their five daughters in a Russian village at the turn of the century.

Return to the Forbidden Planet, March 4-13, 2016

by Bob Carlton. Directed by Cecilia Pang In a galaxy far away, a shadowy planet beckons our courageous team of travelers. “Shake, Rattle, and Roll" as Captain Tempest guides us through a cavalcade of golden era rock ’n roll hits.

The Current, April 15-17, 2016 “The Current” showcases the varied works of CU dance faculty and guest artists, including Faye Driscoll, a Bessie Award-winning choreographer and director who investigates new forms of theatrical experience. Driscoll is the recipient of a 2013 Guggenheim Fellowship and a 2013 Creative Capital Performing Arts Award.

Plus much more! http://www.colorado.edu/theatredance/events

Colorado Shakespere Festival 2016 Lineup:

Comedy of Errors Equivocation Troilus and Cressida Cymbeline Henry VI, Part 2

June 3-Aug. 7, 2016

Seas on ON S Tickets ALE N OW!

The Colorado Shakespeare Festival is a professional theatre company in association with the University of Colorado Boulder.

Since 1958 the festival has celebrated and explored Shakespeare and his continuing influence and vitality through productions of superior artistic quality, education and community engagement.

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Holiday Festival “The CU-Boulder Holiday Festival is a beloved annual tradition,” says Gregory Gentry, Director of Choral Studies. “Once again, we’ll present the outstanding vocal and instrumental students and faculty of the College of Music.”

As artistic director of the event featuring seasonal music and festive holiday decorations at Macky Auditorium, Gentry says this year’s celebration will include familiar music, including holiday favorites by John Williams (“Home Alone”) and Christophe Beck (“Frozen”).

“The audience will be invited to join the performers in singing carols, as well as the ‘Hallelujah Chorus’ from Handel’s ‘Messiah,’” he continues. “Everyone will delight in the music provided by the Holiday Festival Brass & Percussion, the CU Symphony Orchestra and combined choirs, the Holiday Festival Jazz Combo and the CU Women’s Chorus.

“And for the children in our audience, we’ll welcome a very special guest.”

Inspiring sold-out audiences year after year, this lively program of holiday favorites is sure to spark the joy and warmth of the season. Join us!

The Holiday Festival runs Dec. 4-6. Tickets are $15 and up. Holiday Festival revenues benefit the CU Music Scholarship Fund; no discounts are available for these performances.

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Soweto Gospel Choir

Night with Conan O’Brien”—and the gospel group’s second album, “Blessed,” garnered their first Grammy Award in 2007.

On Dec. 11, South Africa’s 24-voice Soweto Gospel Choir—“Nothing less than an international treasure” (JazzTimes)—will light up Macky Auditorium with a colorful, spirited performance of classic Christmas carols, moving African gospel and dance.

Beyond their distinctive music making, the Soweto Gospel Choir founded its own AIDS orphans foundation, Nkosi’s Haven Vukani (which means “Outreach”), to assist organizations that receive little or no funding. The choir also performs for a variety of charitable causes.

The tradition of Christmas was introduced to South Africa by missionaries around 1650, and remains an important holiday celebration among South Africans today. Indeed, Christianity is now entrenched in South African life with approximately 80 percent of the population following some variant of the religion—it’s a key aspect of family and community life, as is music, singing and dancing.

In a mix of traditional and contemporary music and dance, the Soweto Gospel Choir will present in Boulder a stunning affirmation of how South Africans celebrate, grieve, worship and tell stories. Song titles include “Hayo mathata,” “Ziyamaz’ umelusi,” “Calvary,” “Many Rivers” “Meadowlands” and “I Feel Good,” among several more songs and chants.

Since 2002, the Soweto Gospel Choir has demonstrated how all aspects of life can be expressed through song and dance. That year, their first album—“Voices of Heaven”—reached the No. 1 spot on Billboard’s World Music Chart. Numerous other international awards and honors quickly followed—including performances for birthday celebrations of their patron, Archbishop Desmond Tutu. They’ve also appeared on the “Today Show,” “The Tonight Show with Jay Leno” and “Late

The program concludes with a handful of favorite Christmas carols—from “Oh! Holy Night” and “The Little Drummer Boy” to “We Wish You a Merry Christmas”—in the group’s unique rendering of music and rhythms.

Join us for a pre-concert lecture with Assistant Professor of Ethnomusicology Austin Okigbo. The lecture begins at 6:45 p.m. in Room 102 at Macky Auditorium; seating is limited, so please arrive early.

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Portraits Season Opening In Night

Sat., 14—7:30 at Macky Sun.,Nov. Sep. 13—7 PM PM at Macky with Boulder Chorale Charles Wetherbee, violin Charles piano GabrielaDenler, Montero, piano Works by Ravel, Fujiwara Works Brahms & Denler & Rachmaninoff with choreographed images by nature photographer John Fielder

Josh Ritter The Nutcracker Sat., Oct. 10—7:30 PM atBallet Macky Fri.-Sun., Nov. 27-29 at Macky Boulder’s favorite holiday Portraits In Season tradition, all-new Sat., Nov.with 14—7:30 PM scenery! at Macky

Spheres Of Influence Dance, American Style

Fri., 12—7:30PM PMatatMacky Macky Sat., Feb. Jan. 16—7:30 Anne Akiko Meyers, with Boulder Ballet violin Works bySchuman, Mazzoli, Tchaikovsky, Works by Bernstein & Copland Mendelssohn & Shostakovich

Spheres Influence Cirque deOf la Symphonie Fri., Feb. PM at Macky Sat., Apr.12—7:30 2—2 & 7:30 PM at Anne Akiko Meyers, violin Macky Works by Mazzoli, Acrobats performTchaikovsky, to classical Mendelssohn & Shostakovich favorites

with Boulder Chorale Cirque de Symphonie St.&la7:30 Matthew Christmas with the Phil Bach’s Charles Denler, piano Sat., Apr. 2—2 PM at Macky Sun., 20—2 PM, Boulder WorksDec.

by Brahms & Denler Acrobats perform to classical favorites Passion Mon., Dec. 21—6:30 PM, Sat., April 23—7 PM at Macky Beaver Creek The Nutcracker Ballet Sun., AprilSt. 24—2 PM in Denver Bach’s Matthew Tue., Dec.Nov. 22—7:30 Lone Tree Fri.-Sun., 27-29PM, at Macky with Central City Opera, Boulder Passion Bach Festival & CU Choruses Sat., April 23—7 PM at Macky Dance, American Style Christmas with the Phil Sat., Jan. 16—7:30 PM at Macky Sun., April 24—2 PM in Denver Sun., Dec. 20—2 PM, Boulder

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Gábor Tákacs-Nagy, conductor István Várdai, cello

Violin 1 Katherine Hunka (Concert Master) Emily Nenniger Diane Daly Oonagh Keogh Cliodhna Ryan Violin 2 Andre Swanepoel Kenneth Rice Anna Cashell Louis Roden Siun Milne

Viola Joachim Roewer Mark Coates Smith Robin Panter David Kenny Cello Natasha Szervanszky-cavaye Richard Angell Aoife Nic Athlaoich

Oboe Daniel Bates Matthew Draper Horn James Palmer Stephen Nicholls Bassoon Ide Ni Chonaill

Bass Malachy Robinson

Tonight’s performance is sponsored by Boulder CPA Group.

Tonights performance will run aproximately 1 hour and 55 minutes including a 15 minute intermission.

During intermission, tag us in your post or selfie and you could win a $100 CU Presents gift certificate! (facebook.com/cupresents) (Twitter: @cupresents) (Instagram: @cupresents)

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C-1

IRISH CHAMBER ORCHESTRA — N o v . 6 , 2 0 1 5

Irish Chamber Orchestra

IRISH CHAMBER ORCHESTRA — N o v . 6 , 2 0 1 5

Program Symphony No. 49 in F minor (“La passione”)

I. Adagio

II. Allegro di molto

III. Menuet & Trio

IV. Finale: Presto

Franz Joseph Haydn (1732-1809)

C.P.E. Bach (1714-88)

Cello Concerto in A Major, Wq. 172

I. Allegro

II. Largo

III. Allegro Assai

Intermission Cello Concerto in C Major

I. Moderato

II. Adagio

III. Allegro molto

Franz Joseph Haydn (1732-1809)

Divertimento for String Orchestra

I. Allegro non troppo

II. Molto adagio

III. Allegro assai

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Béla Bartók (1881-1945)

Program Notes by Marc Shulgold why No. 49 was later nicknamed by a publisher “La Passione”? No. OK, but was it part of the wildly popular Sturm und Drang (“Storm and Stress”) movement? Not really. The Symphony’s nickname refers not to the inherent drama of the score, nor to the emotions generated by flights of romantic passion. It’s more likely connected to the Christian Passion – the story of Christ’s final days. Similarly, it’s premature to link the swirling energy of the two fast movements with the fad that exploded across Europe with the popularity of a play by Friedrich Klinger titled Storm and Stress, and Goethe’s novel, The Sorrows of Young Werther. Those works displayed an unbridled emotional outpouring that unleashed a flurry of similar literary, musical, theatrical, poetic and artistic endeavors. But Haydn’s No. 49 should not be included among them, since it was finished six years before Goethe and eight years before Klinger. Still, it’s no stretch to link the symphony’s dramatics with the Sturm und Drang period. All those invigorating bursts of heart-on-sleeve drama would open the door to the heroic music of Beethoven – which in turn opened the door to liberating emotion for composers in the decades to come. If Haydn, then, is “The Father of the Symphony,” might he also be looked upon as the progenitor of 19th-century music?

Cello Concerto in A Major, Wq. 172 Carl Philipp Emanuel Bach We’ve viewed Haydn’s 49th Symphony as a transitional work from the Baroque era into the Classical and beyond. Turning to the music of C.P.E. Bach, it’s no exaggeration to similarly consider his entire output as a significant bridge between the old and the new.

The second of Johann Sebastian’s sons to survive childhood, C.P.E. had no hesitancy in pursuing his father’s occupation, in 1740 earning a spot in the musically rich world of Frederick II of Prussia. The monarch may have been designated “The Great,” but he was less so in the way he treated the young Bach.

Though his employment lasted nearly 30 years, C.P.E. frustratingly remained a marginal, poorly paid player in Frederick’s assemblage of 40 or so instrumentalists.

His salary as “first harpsichordist” was in fact less than that of the “second harpsichordist.” Worse still, his compositions were not held in the same high regard in the court as those of Johann Quantz, who specialized in music for the flute (Frederick’s instrument). Nonetheless, C.P.E. continued to compose, both in service to the Prussian monarch and, following his departure in 1768, as civic music

director in Hamburg (succeeding his late godfather, Georg Philipp Telemann). Bach wrote more than 50 concertos, including three in close proximity for cello, though each one also offers the solo role to harpsichord or flute. No one knows which instrument was given first dibs, though it’s a safe bet that the keyboard version was handled by C.P.E. and the flute version given to Frederick. In any case, the solo writing in the A-Major Concerto, penned in 1753, seems most comfortable on the cello. Who was its recipient? Perhaps one of the court cellists – no one knows. A concerto for that instrument was a rarity for the time, a fact noted by Quantz, who observed that any brave cello soloist “must be provided by nature with fingers that are long and have strong tendons.”

Here, the music follows the style of Baroque concertos in its fast-slow-fast structure and lively virtuosity. C.P.E. believed music should “touch the heart above all,” a view that would be explored much later in the Romantic era, and one that is expressed beautifully in this concerto’s Largo (marked mesto – “sad” – accompanied by muted strings). But then, one is hard-pressed to find any music more catchy, playful and jolly than the final Allegro. (continued on back)

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IRISH CHAMBER ORCHESTRA — N o v . 6 , 2 0 1 5

Symphony No. 49 in F minor (“La Passione”) Franz Joseph Haydn At some point in the second half of the 18th century, music became something more than mere background entertainment for the well-to-do. No one can say just when it grew into something of higher and lasting value – but a survey of Haydn’s 104 Symphonies reveals a steady evolution, not only of the symphony itself, but also of music’s newly-discovered power to be meaningful. If you’re looking for a pivot point, consider his Symphony No. 49, written in 1768, while Haydn was enjoying the comforts of life as resident composer in Prince Nikolaus Esterházy’s palace. This work became the last one constructed along the lines of the antiquated Baroque “church sonata” blueprint: slow-fast-slowfast. The remaining 50+ symphonies would open with quick, attention-grabbing themes (occasionally preceded by brief, slow intros as a hold-over from the old days). This work’s opening Adagio, then, is a stern nod to the past – but this work also seems to look forward in its inescapable darkness, a mood that would be embraced by composers throughout the next century. Consider that, apart from a pleasant little Trio in the middle of the Minuet, the music remains rooted in the seriousness of F minor. Is this

IRISH CHAMBER ORCHESTRA — N o v . 6 , 2 0 1 5

(program notes continued) Cello Concerto in C Major Franz Joseph Haydn Let’s give a round of applause to the Czech musicologist Oldřich Pulkert, who happened upon the individual parts of Haydn’s previously lost C-Major Cello Concerto, buried within the National Museum of Prague, where he was working as archivist. The discovery was made in 1961 – some 200 years after this brilliant work was composed. Though the pages were not written in the composer’s hand, Pulkert matched the music with a musical quote that Haydn had included in his catalog, thus confirming its authenticity. Cellists around the world quickly added the work to their repertoire, and it has remained a concert-hall staple and audience favorite ever since. Haydn was no cellist, preferring the keyboard

(though he was hardly a virtuoso). It’s likely that this work, the first of two, was written in the early 1760s, at the start of the composer’s 30-year residency at the Esterházy Palace in Hungary’s northwest corner.

No doubt it was intended for the palace orchestra’s principal cellist, Joseph Franz Weigl, who, we’re guessing, served as guide in its composition and served as the concerto’s first soloist. Weigl also may have also written out the parts discovered by Pulkert.

Here is music that is stately in its opening movement, touching and almost operatic in its serene slow movement and bubbling with Haydn’s irresistible wit and charm the finale. Sad to think that it had been lost to so many generations of musicians and music lovers.

Divertimento for String Orchestra Béla Bartók In the summer of 1939, the world was teetering on the brink of disaster. And yet, a mere month before Germany’s Sept. 1 invasion of Poland signaled the start of World War II, Béla Bartók found himself surrounded by beauty and peace. That August, responding to an invitation the previous year from his wealthy friend, conductor Paul Sacher, the composer settled in Sacher’s spacious chalet, tucked away in the Swiss Alps, in order to create a piece for the Basle Chamber Orchestra. Three years earlier, Bartók had written his Music for Strings, Percussion and Celesta for Sacher’s group, so he greeted this gracious offer enthusiastically. Here was a welcome diversion from the growing tensions in Europe – and so it seems appropriate that the new work would be titled Divertimento. Inspired by the luxury of his surroundings, the composer happily wrote to his son, “Somehow I feel like a musician of olden times – the invited guest of a patron of the arts.” When Sacher arrived to check on Bartók, he reported finding him “completely without misgivings for the future, absorbed in his work.” Indeed, the Divertimento emerged with little effort: it was completed in a mere

15 days on August 17, and would be premiered by Sacher and company on June 11 the following year.

But a lot happened in the interim – by early 1940, all of Europe was at war and the Bartóks were forced to escape from their beloved Hungary and emigrate to America. This three-movement work, along with the Sixth String Quartet (also commissioned by Sacher), would be Bartók’s last music written in Europe. In a letter to his wife Ditta, he explained his motivation for writing a piece that takes its model from the concerto grosso of the late Baroque: “Divertimento means, roughly, amusing, entertaining music. As far as I am concerned, it does entertain me. … Sacher asked for a simple piece; simplicity brings with it lightness. And indeed it became light.” This is one of Bartók’s most accessible pieces, brimming with jaunty Hungarianflavored folk dance tunes and gypsy waltzes, and even an amusing, if ironic, dash of Viennese polka near the end. True to its Baroque model, the work pits a solo ensemble of first-desk players against the rest of the orchestra. Not that it’s all fun and games – the central Adagio, played by muted strings, is filled with a sense of lonely melancholy, punctuated by discordant cries of despair, as if the composer was unconsciously gazing into Europe’s dark future.

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The Irish Chamber Orchestra

Gábor Takács-Nagy and the ICO commence the 2015/16 season focusing on Schubert, whilst Jörg Widmann and the orchestra begin a new journey with Weber, Beethoven and Schumann.

As always, the ICO introduces some of the finest international guest soloists in its 2015/16 season, including one of the world’s up-and-coming pianists, Igor Levit. We also expand our long tradition of crossartform collaborations: in September Handel’s comic opera, “Agrippina” (the first co-production between the ICO, Irish Youth Opera and NI Opera) will play six performances in four cities. UK maestro Jonathan Cohen makes a welcome return as musical director of this production. Celebrated Irish soprano Ailish Tynan makes two appearances in the season, as does Irish pianist Finghin Collins. The ICO dedicates a concert to the 1916 Easter Rising commemorations with an emphasis on remembrance and reconciliation. A potpourri of music, songs and poetry features Irish actor, Des Keogh.

Working with some of the world’s finest musicians both international and national including Claron McFadden, Gilles Vonsattel, Gloria Rehm, Jochen Rieder, István Várdai, Sergeij Nakariakov, Tabea Zimmermann, Pekka Kuusisto, James Galway, Jonathan Cohen, Finghin Collins and Michael McHale, the ICO continues to blaze a trail.

The ICO excels in diverse repertoire ranging from baroque to modern day masterpieces and new commissions – enjoying fruitful relationships with an array of Irish composers including Garrett Sholdice, John Kinsella, Linda Buckley, Elaine Agnew, Míchael Ó Súilleabháin, Frank Corcoran and Sam Perkin.

The orchestra has successfully toured across Europe, Australia, South Korea, China and the United States. Since his first appearance with the orchestra (Berlin 2007), Jörg Widmann has injected unprecedented energy which has seen the orchestra appear at De Singel Antwerp (2011), the Konzerthaus Berlin, the Rheingau and Lichfield Festivals (2013).

The ICO undertook a 13-city U.S. tour with flautist Sir James Galway (2013). In 2014, Widmann and the ICO performed at the Storioni Festival Eindhoven, the Heidelberg Frühling Festival, the Mozartfest Würzburg, in addition to concerts in Bregenz, Austria and Wiesbaden, Germany with Ailish Tynan. This November the orchestra embarks on a 4-City US tour with Principal Artistic Partner, Gábor TakácsNagy and celebrated Hungarian cellist, István Várdai.

2016 marks a significant year for the orchestra as it commences its first international (three-year) residency in Heidelberg, resulting in several concerts at the distinguished Heidelberger Frühling with Igor Levit. In addition, the ICO will perform in the Philharmonie, Cologne as well as returning to the Mozartfest Wῡrzburg with acclaimed violist Tabea Zimmermann. The orchestra makes its debut at the Tonhalle Zurich (2016) and the Konzerthaus Vienna (2017) in addition to a return London performance at the Wigmore Hall in the 2017/18 season.

Adding to the orchestra’s already numerous CD recordings, the Orfeo label will soon release a series of Mendelssohn’s Symphonies combined with works

by Jörg Widmann, as directed by him.

Outside the concert hall, the ICO stimulates minds and hearts with vitality unmatched by other ensembles.

Its “Sing Out with Strings” programme provides free tuition in singing, song writing, violin and cello tuition to 300 children throughout Limerick city, developing not only musical skills, but also key life skills using music as a tool for tangible social change.

The Irish Chamber Orchestra is resident at the Irish World Academy of Music and Dance at the University of Limerick and is funded by the Arts Council of Ireland/An Chomhairle Ealaíon.

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IRISH CHAMBER ORCHESTRA — N o v . 6 , 2 0 1 5

The Irish Chamber Orchestra is Ireland’s finest chamber orchestra, renowned for its virtuosity, its intimacy, program diversity and outstanding musicianship. The ICO continues to work with Gábor Takács-Nagy (Principal Artistic Partner) and Jörg Widmann (Principal Guest Conductor/Artistic Partner), opening new doors to music. Under the leadership of Katherine Hunka, the orchestra tours nationally and internationally.

IRISH CHAMBER ORCHESTRA — N o v . 6 , 2 0 1 5

Artist Bios A native of Budapest, Gábor Takács-Nagy studied violin from eight years. As a student of the Franz Liszt Academy, he won First Prize in 1979 in the Jenö Hubay Violin Competition and later pursued studies with Nathan Milstein. His chamber music teachers at that time were Ferenc Rados, András Mihaly, Zoltán Székely, Sándor Végh and György Kurtag.

From 1975 to 1992, he was founding member and leader of the acclaimed Takács Quartet performing with legendary artists; Yehudi Menuhin, Sir Georg Solti, Isaac Stern, Mstislav Rostropovitch, and was regularly invited by Sviatoslav Richter to his festivals.

The Takács Quartet made many recordings for Decca and Hungaroton. In 1996, he founded the Takács Piano Trio and made world premier recordings of works of Hungarian composers Franz Liszt, Lászlo Lajtha and Sándor Veress.

In 1998, he established the Mikrokosmos String Quartet with compatriots Zoltan Tuska, Sandor Papp and Miklos Perényi, recording in 2008 the complete cycle of Bartók’s String Quartets for which they were awarded the Excellencia prize by Pizzicato Magazine.

In 1982, he was awarded the Liszt Prize. TakácsNagy is considered one of today’s most authentic exponents of Hungarian music, and in particular, that of Béla Bartók.

In 2002, following Hungarian tradition, Takács-Nagy turned his attention to conducting, creating his own

string ensemble, the Camerata Bellerive (2005) and in 2006 was appointed Music Director of the Weinberger Kammerorchester. In August 2007, he was named Music Director of the Verbier Festival Chamber Orchestra, an integral part of the Verbier Festival and regularly collaborates with the pianist Martha Argerich. A DVD of their performances of Beethoven’s second piano concerto and Shostakovich’s concerto for piano, trumpet and strings was released in June 2011.

From 2010 until 2012, Takács-Nagy was Music Director of the MAV Symphony Orchestra Budapest recording a world premiere the epic Bards of Wales oratorio by Karl Jenkins. In September 2011, he was appointed Music Director of Manchester Camerata, one of the UK’s leading chamber orchestras, and in September 2012 became Principal Guest Conductor of the Budapest Festival Orchestra. In January 2013, he was appointed Principal Artistic Partner of the Irish Chamber Orchestra.

Takács-Nagy is a dedicated and highly sought-after teacher. He is Professor of String Quartet at the Haute Ecole de Musique in Geneva and International Chair of Chamber Music at the Royal Northern College of Music in Manchester. In June 2012, he was awarded honorary membership of the Royal Academy of Music in London.

Gábor Takács-Nagy

Principal Artistic Partner /Conductor

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Cellist

István Várdai, the 29-year-old gifted Hungarian cellist has been awarded several prestigious international prizes. Most recently he won the ARD Cello Competition in Munich (2014). This was preceded by the prestigious Prix Montblanc (2013) awarded to the world’s most promising young musician. In 2008 he won the 63th Geneva International Music Competition in addition to the Audience Prize, Pierre Fournier Prize and Coup de Coeur Breguet Prize. He took 3rd prize at the Tchaikovsky Music Competition in Moscow (2007) and in 2006 was winner of the Feuermann Cello Competition at Kronberg Academy. He also was awarded 1st Prize at the 13th International Brahms Competition in Austria and won the David Popper International Music Competition no less than three times (2000, 2003, 2004).

Since his debut concert in 1997 in The Hague, Várdai has performed in New York, London, Paris, Prague, Vienna, Frankfurt, Munich, Berlin, Geneva, Dublin, Moscow, St. Petersburg, Florence, Tokyo and Beijing with great success. He has performed with world renowned musicians and orchestras including Ádám Fischer, Zoltán Kocsis, Howard Griffiths, Simon Gaudenz, Gilbert Varga, St. Petersburg Symphony Orchestra, Mariinsky Theatre Orchestra, Geneva Chamber Orchestra, Franz Liszt Chamber Orchestra, Suisse Romande Orchestra, Bavarian Radio Symphony Orchestra as well as the ICO. He has guested at the Santander Festival, the Gergiev Festival in St. Petersburg, the Pablo Casals Festival (Spain), Festival of Radio France (Montpellier),

Bellerive Festival (Switzerland), Schleswig-Holstein Music Festival, Schwetzingen Festival, West Cork Chamber Music Festival, Verbier Festival and the Budapest Spring Festival. In 2010, he made his debut, among others, in Carnegie Hall and the Vienna Konzerthaus and has performed with Gidon Kremer, András Schiff and Yuri Bashmet in the frame of “Chamber Music Connects the World” at Kronberg Academy.

Between 2010 and 2013, Várdai studied at the Kronberg Academy with Professor Frans Helmerson and has been on the Academy staff ever since.

He attended master classes with Natalia Gutman, Natalia Shakhovskaya, András Schiff and János Starker. In 2009, he was awarded the Junior Prima Prize as best young artist of the year. Várdai initially studied at the Franz Liszt Academy in Budapest with Professor László Mező (2004) and continued at the Music Academy of Vienna with Professor Reinhard Latzko (2005).

Várdai first CD featured works by Janáček and Prokofiev. The Elgar cello concerto was released in 2009 by Ysaye Records. In 2010, he recorded Baptist Vanhal’s cello concerto. A 2013 release on the Hännsler label featured works by Mendelssohn, Martinu, Paganini, Beethoven and Popper. Last year, he released both versions of Tchaikovsky’s Rococo Variations (Brilliant Classics). Várdai plays a cello

by J.Cuypers (1763) and a modern instrument by Carsten Hoffman.

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IRISH CHAMBER ORCHESTRA — N o v . 6 , 2 0 1 5

István Várdai

IRISH CHAMBER ORCHESTRA — N o v . 6 , 2 0 1 5

Upcoming ensemble performances: Wednesday, Nov. 11

Monday, Nov. 16

Jazz Combos

7:30 p.m., Old Main Theater

Thursday, Nov. 19

Symphonic Band

7:30 p.m., Macky Auditorium

Thursday, Nov. 12

Wind Symphony

7:30 p.m., Macky Auditorium Japanese and Gamelan Ensembles

7:30 p.m., Grusin Music Hall

Saturday, Nov. 14

Early Music Ensemble: Italian Journey

4:30 p.m., Chamber Hall Jazz Ensembles I & II with special guest Tia Fuller

7:30 p.m., Grusin Music Hall

Sunday, Nov. 15

University Choir & University Singers

7:30 p.m., Grusin Music Hall

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Latin Jazz and Bateria Ensembles

7:30 p.m., Grusin Music Hall CU Symphony Orchestra

7:30 p.m., Macky Auditorium

Wednesday, Dec. 2

Pendulum New Music

7:30 p.m., Grusin Music Hall Opera Scenes: Eklund Opera Program

7:30 p.m., Music Theatre

Monday, Dec. 7

Campus Band and Campus Orchestra

7:30 p.m., Grusin Music Hall

For more information, visit: colorado.edu/music

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Program Insert

MAKE ANYTHING POSSIBLE. When we are guided, supported and encouraged by others, it’s a powerful experience. It builds our confidence, brightens our outlooks and frees us to imagine all that’s possible. However, when resources are stretched and families struggle to make ends meet, it is difficult just to keep kids safe and cared for, let alone to give them opportunities to play sports, learn new things and explore new worlds.

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THE NUTCRACKER Presented by The Colorado Conservatory of Dance

December 12, 13, 19, 20 Performing Arts Complex at PCS 1001 W. 84th Avenue Denver, Colorado 80260 With international guest stars: Joseph Gatti, Adiarys Almeida and John Lam

For tickets: 303.466.5685 nutcracker2015.org

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Ars Nova Singers

Fine Art Associates 1949 Pearl St Boulder CO

Our 30th Anniversary Season

100 Years of a Masterpiece

Rachmaninoff, Vespers – October 9 & 10 A Colorado Holiday Tradition

Happiness and Cheer – December 12, 13, 17, 18 Music for Many Voices

Renaissance Retrospective – February 19, 20 Modern Masterpieces

The New Art: Shared Visions – April 29, 30 tickets/info:

www.arsnovasingers.org

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Lessons and Carols for the Christmas Season

Sunday, December 13 • 6pm Enjoy seasonal music and a candle-lit night of lessons and carols.

All are welcome!

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(across from Engineering at CU)

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colorado.edu/music/facultytuesday

Faculty Tuesday recitals are held throughout the academic year at 7:30 p.m. in Grusin Music Hall of the Imig Music Building on the CU-Boulder campus.

Performances are free and open to the public.

Nov. 10 Soprano Jennifer Bird-Arvidsson and pianist Alexandra Nguyen: Cabaret Songs Grusin Music Hall will be transformed into a cabaret nightclub for this intimate performance featuring standards of the cabaret genre interpreted through the lens of traditional classical composers such as Schoenberg and Britten. The evening won’t be complete without an engaged audience, so come join us for an unforgettable soirée!

Nov. 17 Cellist David Requiro and pianist Margaret McDonald: A Folk-Inspired Evening Join new faculty cellist David Requiro and pianist Maragaret McDonald for Kodaly’s Sonata for Cello and Piano, Op. 4, “Five Pieces on Folk Themes” by Tsintsadze and Brahms’ Cello Sonata No. 2 in F-Major, Op. 99.

Dec. 1 Violinist Harumi Rhodes and pianist David Korevaar: First Ventures Harumi Rhodes and David Korevaar embark on an exploration of “first ventures” featuring first sonatas for violin and piano by Beethoven and Bartok. Also on the program is Messiaen’s “Thème et variations,” a mystical work like none other in the repertoire.

Spring Faculty Tuesday Preview Jan. 12 Jan. 19 Jan. 26 Feb. 2 Feb. 9 Feb. 16 Feb. 23 March 8 March 15 March 29

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Mutsumi Moteki and Tamara Goldstein “My Song Book: songs without singers” Erika Eckert, Margaret McDonald, Abby Nims (poetry theme) David Korevaar Doug Walter CU Symphony Orchestra Voice Faculty (Mutsumi Moteki coordinating) Andrew Cooperstock Mike Barnett works performed by David Korevaar and Chas Wetherbee Alexandra Nguyen and friends Abby Nims, Alexandra Nguyen, Bob Spillman

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Is the person in seat D3

your next client?

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presents

Gilbert and Sullivan’s classic operetta

Pirates of Penzance with live orchestra and “Pirates for Kids” featuring a pirate costume contest!

Rialto Theatre , 228 E 4th St , Loveland Contact the Rialto Theater for tickets: http://rialtoloveland.ticketforce.com or 970-962-2120 For information: www.lovelandopera.org or 970-593-0085

February 26March 6, 2016

303.428.9529 sales@pub-house.com ColoradoArtsPubs.com

There’s no place like home.

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here’s something special about life at Frasier. And it’s reflected in the smiling faces and close connections you’ll see everywhere on our spacious, graceful campus. Is it our stellar setting, close to all the best Boulder attractions? Our gorgeous selection of living spaces and long list of amenities and activities? The sense of belonging to a spirited community of friends and family? The opportunity to pursue new passions? Or the peace of mind that comes from our continuum of on-site-care? Whatever the reason, one thing is certain: no place compares to home sweet Frasier.

Creating connections. Honoring lives. Embracing possibilities.

Independent Living, Assisted Living and Memory Care Apartments are available.

Call 303.499.4888 for an appointment and tour.

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Artist Series

The Artist Series presents performances of fine music and performing arts to which the community would otherwise not have access. The highest quality emerging and internationally recognized artists provide worldclass performances and residency activities that enhance the learning environment at the University of Colorado Boulder and the cultural life of the community. The Artist Series includes a variety of presentations from many cultures and traditions.

Artist Series Advisory Board Gil Berman Rudy Betancourt Joan McLean Braun John Davis Diane Dunn Mike Gallucci Lissy Garrison Laima Haley Daryl James, President Maryan K. Jaross Ruth Kahn Jerry Orten Louise Pearson Erika Randall Robert Shay Gregory Silvus Ellen Taxman Nicholas Vocatura

Benefactor

Paul Bechtner Foundation Greg Silvus and Melanie Miller Ellen and Joshua Taxman

Sponsor

Diane and Richard Dunn Daryl and Kay James Mary Lamy

Patron

Anonymous Joan McLean Braun Chris and Barbara Christoffersen Ruth Carmel Kahn Louise Pearson and Grant Couch Scott Wiesner and Janet Ackermann

Harold and Joan Leinbach Susan and Jon Lounsbury Janet and Scott Martin Barbara and Irwin Neulight Gary and Beth Rauch Anthony and Randi Stroh Luana and Paul Rubin Douglas and Avlona Taylor

Supporter

Member

Gil and Nancy Berman Mark and Margaret Carson Carson-Pfafflin Family Foundation Center Copy Printing Boulder, Inc. Carol and Michael Gallucci Lori Lucas and Bob Schuyler Heidi and Jerry Lynch Robert and Sandra McCalmon Judy and Alan Megibow Jerry and Jamie Orten Randy Parella Mikhy and Michael Ritter Alicia and Juan Rodriguez Theodore and Ruth Smith Larry and Ann Thomas

Contributor

Mary Anne Scott Dean and Ellen Boal Prudence Carter Norma Ekstrand and Tom Campbell Gregory and Gladeane Lefferdink

David Beausang Shirley Carnahan Noel A. and Pauline A. Clark Catherine Cloutier Joseph and Jaird de Raismes Laima and Damon Haley Jo and David Hill Jeannette and David Hillery Pam Leland Judah and Alice Levine Margaretha Maloney and Robert Palaich Paul and Kay McCormick Janet and Hunter McDaniel Tammy Noirot Courtland and Carolyn Spicer Zoe Stivers Lloyd Timblin Jr. Geoffrey Tyndall Heather Van Dusen Vince and Caroline Wayland

Corporate Sponsors

Boulder CPA Group, Frasier Meadows Retirement, H.B Woodsong's, Hurdle's Jewelers, James & Associates, Shaw Construction, WESTAF

In-kind Sponsors

Boulder Blooms, Camera, Hotel Boulderado, KUVO, Liquor Mart, The Pines Catering

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Weekly private lesson and twice-monthly group lesson Ages 4 - High School Beginner - Advanced Baby/Toddler music classes ages birth - 3 note reading, theory, orchestra, fiddling, chamber, ensembles, concerts, recitals

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Don’t let chronic knee or hip pain take you away from the things you enjoy most. Talk to the orthopedic experts at Boulder Community Health about the innovative treatments available to help you get back to the activities you love—and sooner than you might think.

Enjoy Life On Your Terms.

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Takács Society

The Takács Society, formed by the College of Music, provides the critical resources to support the work of the Takács Quartet—to advance their teaching endeavors, provide scholarships that are essential to attract and retain exceptionally gifted young artists, and sponsor guest artists in the Takács performance series.

Benefactor

Albert and Nancy Boggess Lyle Bourne and Rita Yaroush Sam Ersan Norma Johnson in memory of Fay Shwayder Gary and Judith Judd in memory of Fay Shwayder The Takács Quartet

Sponsor

Pamela Decker and Beth Saperstein Carol Lena Kovner David and Janet Robertson Marion Thurnauer and Alexander Trifunac

Patron

Thomas and Carol Cech Chris and Barbara Christoffersen Anne Heinz and Ran Yaron Ray and Margot LaPanse Kathleen Sullivan John and Carson Taylor

Supporter

Patricia Butler Robert R. Kehoe Walter and Eileen Kintsch Virginia M. Newton Newton Family Fund, Inc. Neil and Martha Palmer Mikhy and Michael Ritter David and Susan Seitz Lawrence and Ann Thomas James and Lena Wockenfuss

Contributor

Virginia and Stanley Boucher William and Alice Bradley Kevin and Diana Bunnell Marda Buchholz Bob and Lennie Damrauer Carolyn and Don Etter Steve Goldhaber and Mariana Vertenstein Harold and Joan Leinbach Paul and Nancy Levitt Patricia and Robert Lisensky Anthony and Randi Stroh Berkley Tague Patricia Thompson

Member

Anonymous Lois Abbott Christine Arden and David Newman Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Christopher and Margot Brauchli Shirley Carnahan Penny Chenery Noel A. and Pauline A. Clark Helen Dorsey Corbett Charlotte Corbridge Richard and JoAnn Crandall Barbara and Carl Diehl Carolyn and Don Etter Bob and Jean Fischer Lloyd and Mary Gelman Ken and Dianne Hackett Richard and Catharine Harris

Doree and Jerry Hickman Ruth and Richard Irvin Richard Jessor and Jane Menken Bruce and Kyongguen Johnson Patricia L. Johnson Jennifer and Bob Kamper Mireille Key Marion and Frank Kreith Alice and Judah Levine Albert and Virginia Lundell Heidi and Jerry Lynch Kamilla Macar John and Nancy Malville Ralph and Nancy Mann Maxine Mark J. Richard and Marjorie McIntosh Peter and Doris McManamon Christopher Mueller and Martha Whittaker Joan and Ronald Nordgren Alison and Graham Oddie Antonia and Timothy Piwonka-Corle Richard Replin and Elissa Stein Mark and Joanna Rosenblum Ruth Shanberge in memory of Carol Seideman Todd and Gretchen Sliker Grietje Sloan Carol and Art Smoot Helen Stone Arthur and Laurie Travers Mary and Peter Van Etten Betty Van Zandt Thomas VanZandt and Natalie Hedberg James and Nurit Wolf Bill Wood

If you would like to name a seat in Grusin Music Hall, please call the College of Music Development Office at 303-735-6070.

Make all gifts payable to the University of Colorado Foundation and mail to: Takács Society CU College of Music, 301 UCB, Boulder, CO 80309-0301 For credit card payments, questions or additional information, please call the College of Music Development Office at 303-735-6070.

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Friends of the Eklund Opera

The Eklund Opera Program is recognized nationwide as one of the finest programs of its kind in the country. Its success is a reflection of outstanding faculty, exceptionally gifted students, professional production standards, and, ultimately, the successful placement of students after graduation in the professional world. You are invited to be a part of the tradition of excellence that has come to characterize Eklund Opera. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting Eklund Opera, please contact our Development Office at 303-735-6070.

Benefactor

Contributor

Anonymous David Allen and Carol DeBaca Boulder Rotary Club Paul Eklund Ann Oglesby Alan and Martha Stormo The Academy Charitable Foundation, Inc.

Jim and Judith Bowers Robert and Lenore Damrauer Maryann Dimand and Sheeyun Park Martha Coffin Evans and Robert Trembly Harold and Joan Leinbach Janet and Scott Martin Denise McCleary and Paul Von Behren Dave and Ann Phillips Richard and Caroline Van Pelt Peter Wall Michael and Linda Weatherwax in memory of Allene Cash

Patron

Chris and Barbara Christoffersen Lloyd and Mary Gelman Albert and Betsy Hand Bob and Mikee Kapelke Antoinette and Douglas Shaller

Grants

Denver Lyric Opera Guild Galen & Ada Belle Spencer Foundation Louis and Harold Price Foundation Roser Visiting Artist Endowment The Schramm Foundation

Supporter

Anonymous Mark and Margaret Carson Carson-Pfafflin Family Foundation Walter Duncan Marty Coffin Evans and Robert Trembly Mikhy and Mike Ritter Theodore and Ruth Smith Lawrence and Ann Thomas Ken and Ruth Wright in memory of Mayme Lacy Wright Family Foundation

Member

Shannon Bee in memory of Allene Cash Sara-Jane and Bill Cohen Catherine Compton in honor of Tom Robbins Eleanor DePuy Donald and Beverly Eklund Joseph and Beverly Elinoff Ellen and John Gille Janet Hanley David and Janet Hummer Frank and Marion Kreith Melinda Leach and David Ball Kenneth L. Levinson and Shauna Titus Levinson Patricia and Robert Lisensky Heidi and Jerry Lynch Bruce Mackenzie Marian Matheson Byron and Cathy McCalmon Corinne McKay and Daniel Urist Richard and Donna Meckley Kathleen and John Ness Robert and Marilyn Peltzer Kim and Rich Plumridge Gail Promboin and Robert Burnham Byron and Sylvia Riley Juan and Alicia Rodriguez Ruth Schoening Ruth Shanberge Carol and Randall Shinn Carol and Art Smoot Helen Stone Walter Taylor James and Nurit Wolf

About the Eklund Opera Program

From left: Paul Eklund Leigh Holman, Director of Opera Robert Shay, College of Music Dean

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Recognizing the importance of the arts and live vocal performance in an increasingly distracted world, longtime Boulder resident Paul Eklund made a generous gift in October 2014 to help establish a $2 million endowment at the CU-Boulder College of Music. Funding from the endowment helps support three opera productions each academic year, the CU New Opera Workshop and an opera-scenes program for new students.

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Personnel Staff

Joan McLean Braun, Executive Director Laima Haley, Marketing and P.R. Director Sabine Kortals, Interim Director of Communications Daniel Leonard, Marketing Manager Jessie Bauters, Assistant Director of Communications and Web Administrator Mel Plett, Publications Manager Zachary Barger, Publications Assistant P.R. Assistants: Abbey Engrav, Helen Slivinski, Colin Wichman, Jackson Xia Nick Vocatura, Operations Director Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Manager Box Office Assistants: Ciara Glasheen-Artem, Elise Campbell, Starla Doyal, Adrienne Havelka, Chris Ruiz, Melanie Shaffer Kevin Harbison, Recording Engineer Nancy Quintanilla, Financial Manager Ted Mulcahey, Piano Technician

Macky Auditorium Staff

Rudy Betancourt, Director John Jungerberg, Operations Manager Sara Krumwiede, Assistant Director JP Osnes, Technical Director Rhett Snyder, Assistant Technical Director Rojana Savoye, House Manager Nicole Anderson, Assistant House Manager

College of Music Cabinet

Robert Shay, Dean James Austin, Associate Dean for U.G. Studies James Brody, Interim Dean for U.G. Studies Steven Bruns, Associate Dean for Grad. Studies John Davis, Associate Dean for Administration Joan McLean Braun, Assistant Dean for Concerts and Strategic Communications Lissy Garrison, Assistant Dean for Advancement Alexander George, Executive Assistant to the Dean

College of Music Advisory Board Robert Shay, Dean Chris Brauchli Bob Bunting Jan Burton Paul Eklund Bill Elliott Martha Coffin Evans Jonathan Fox David Fulker Grace Gamm Lloyd Gelman Doree Hickman

Honorary Directors:

Dean Boal, Bob Charles, Eileen Cline, Donna Erismann and Dave Grusin

Program Editor: Sabine Kortals Program Design/Layout: Mel Plett

Patron Info Accessibility and Parking

Macky Auditorium is fully wheelchair accessible; ADA-accessible parking is available nearby. Please call the Box Office as early as possible to make arrangements.

Paid parking is available in the Euclid Avenue auto-park, Lot 310 and Lot 204. Contact the Box Office, or check the CU Presents website for more information.

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David Hummer Daryl James Caryl Kassoy Robert Korenblat Erma Mantey Joe Negler Susan Olenwine Mikhy Ritter, co-chair Becky Roser, co-chair Mark Tezak Jeanne Thompson Jack Walker

CU Presents Box Office cupresents.org 303-492-8008

Photography and video recordings Ticket Sales are final; no refunds. of any type are strictly prohibited during the performance.

Food

is permitted in the seating areas of Macky Auditorium, but is prohibited in other campus venues unless otherwise noted.

Smoking is not permitted anywhere.

CU-Boulder is a smoke-free campus!

Exchanges are subject to availability and must be made at least one business day prior to the day of performance.

Subscribers may exchange tickets for free. Single ticket exchanges are subject to a $3 exchange fee. Upgrade fees may apply in all cases. Please return your tickets to the Box Office prior to the performance, if you are unable to use them.

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