CU Presents, January-February, 2022

January-February 2022

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Takacs Quartet Jan. 9-10 Kronos Quartet Jan. 13 Circa Jan. 30 Ailey II Feb. 16 Jazz at Lincoln Center Orchestra with Wynton Marsalis Feb. 21

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January-February 2022

In this issue 06

Swing is back!

08

Upcoming events

10

Groundbreaking, beautiful and unapologetically Black: the everlasting vision of Alvin Ailey

18

New endowed fund to foster DEI through American Music Research Center

22

Outstanding Graduating Senior 2021: Ariel Flach

24

Thank you to our donors

25

Artist Series sponsors

26

Personnel and policies

CU Presents is the home of performing arts on the beautiful University of Colorado Boulder campus. With hundreds of concerts, plays, recitals and more on our stages each year, there’s something for everyone to enjoy.

Editor: Becca Vaclavik Designer: Sabrina Green Contributors: MarieFaith Lane, John Moore, Becca Vaclavik Photo/image credits: Nir Arieli, Glenn Asakawa, Jay Blakesberg, CU Boulder Photography, Patrick Campbell, Ligature Creative, Piper Ferguson, Holst Photography, Justin Ma, Jack Mitchell (© Alvin Ailey Dance Foundation, Inc./Smithsonian Institution), Frank Stewart, Lawrence Sumulong (Artist Series cover image), Amanda Tipton (Takács Quartet cover and images) We honor and acknowledge that the University of Colorado’s four campuses are on the traditional territories and ancestral homelands of the Cheyenne, Arapaho, Ute, Apache, Comanche, Kiowa, Lakota, Pueblo and Shoshone Nations. Further, we acknowledge the 48 contemporary tribal nations historically tied to the lands that comprise what is now called Colorado.

Artist Series Advisory Board: Daryl James, President; Gil Berman, Shirley Carnahan, Mike Gallucci, Maryan K. Jaross, Ruth Kahn, Gregory Silvus, Ellen Taxman, Ann Yost Music Advisory Board: Laurie Hathorn, Chair; Sue Baer, Jim Bailey, Gil Berman, Christopher Brauchli, Bob Bunting, Jan Burton, Bob Charles, Paul Eklund, Bill Elliott, Martha Coffin Evans, Jonathan Fox, David Fulker, Grace Gamm, Lloyd Gelman, Doree Hickman, Daryl James, Maria Johnson, Caryl Kassoy, Robert Korenblat, Erma Mantey, Ben Nelson, Joe Negler, Ann Oglesby, Susan Olenwine, Mikhy Ritter, Becky Roser, Firuzeh Saidi, Lynn Streeter, Stein Sture, Jeannie Thompson, Jack Walker, Celia Waterhouse



The Artist Series, which for more than 80 years has welcomed world-renowned musicians and dance troupes to historic Macky Auditorium.



The Colorado Shakespeare Festival, a professional theatre company devoted to the Bard’s works.



The Takács Quartet, a world-renowned chamber ensemble in residence at CU Boulder.

This CU Presents program is published by: The Publishing House, Westminster, CO.



The CU Performing Arts, offering a broad range of both free and ticketed performances from CU faculty, students and guest artists: exciting new and classic works from the College of Music, spellbinding performances at the Department of Theatre & Dance, and CU Boulder's beloved annual Holiday Festival.

Publisher: Angie Flachman Johnson Production Manager: Stacey Krull President Emeritus: Wilbur E. Flachman

4

2021-22 Season

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Swing is back!

By Becca Vaclavik

In November 2021, the Jazz at Lincoln Center Orchestra—led by Wynton Marsalis and made up of 15 of the finest soloists, ensemble players and arrangers in jazz music today—welcomed back inperson New York audiences for the first time since the COVID-19 shutdowns in March 2020.

While the orchestra performed both new and archived material virtually throughout the pandemic in small groups, fans of jazz know that its bright and swinging improv is best experienced in community. Soloists feed off the audience’s energy; each performer takes visual cues from their fellow artists on stage.

“It means a lot, because that's what we're here to do,” Marsalis confessed ahead of reopening. “We always appreciated playing, but this time has made us more mindful of how special the opportunity is to be able to play. I think everybody appreciates everything more.”

To borrow from the great Duke Ellington: It don’t mean a thing if it ain’t got that swing.

As the ensemble has gotten back into the swing of things (forgive me for the pun), it has toured across Europe, celebrated Marsalis’ 60th birthday with an in-house concert, and finally, has made its way across the U.S. on tour once again. The orchestra will return to Boulder for a performance in Macky Auditorium on Feb. 21.

6

2021-22 Season

“To look at and see our audience, and to feel that energy, I’m going to be overwhelmed,” said saxophonist Ted Nash, speaking to the New York Times. “We’ve been doing all this virtual stuff, but to create together a sound field and an energy field in person, where all the sounds meld together—this is why I do this.”

 Don’t miss the Jazz at Lincoln Center Orchestra with Wynton Marsalis Feb. 21 in Macky Auditorium. Tickets at cupresents.org.

A new comedy

by Eric Pfeffinger

Tangerine C: 0 M: 49 Y: 100 K: 0

Orange C: 0 M: 77 Y: 100 K: 0

Grey base C: 66 M: 55 Y: 52 K: 50

Grey base C: 66 M: 55 Y: 52 K: 40

R: 255 G: 130

R: 241 G: 97

R: 83

R: 83

TICKETED PEFORMANCES KEY

 Artist Series  Takács Quartet  CU Performing Arts

Takács Quartet Jan. 9-10, 2022 Grusin Music Hall

Kronos Quartet

Circa

Thursday, Jan. 13, 2022 Macky Auditorium

Sunday, Jan. 30, 2022 Macky Auditorium

Music for Change

Sacre

Please note: Circa recommends this performance for audiences ages 12+

Ailey II Wednesday, Feb. 16, 2022 Macky Auditorium

Jazz at Lincoln Center Orchestra with Wynton Marsalis Monday, Feb. 21, 2022 Macky Auditorium

Airness

Takács Quartet March 6-7, 2022 Grusin Music Hall

Guys and Dolls

Danú Wednesday, March 16, 2022 Macky Auditorium

8

A musical fable of Broadway

March 11-13, 2022 Macky Auditorium

2021-22 Season

A comedy about air guitar, competition and finding the airness in yourself

March 4-13, 2022 University Theatre

Takács Quartet April 10-11, 2022 Grusin Music Hall

The Current

Dance works by faculty and guest artists

April 7-10, 2022 Charlotte York Irey Theatre

Postcard from Morocco

An opera by Dominick Argento

April 21-24, 2022 Music Theatre

Summer 2022 June 5-August 7

Tickets on sale now!

Join us for upcoming performances: cupresents.org 303-492-8008

303-492-8008 coloradoshakes.org

Free performances: CU Boulder College of Music

Faculty Tuesdays Renowned faculty members perform in a weekly concert series featuring guest artists, students and professional colleagues. Most Tuesdays, August-March

Student ensembles The University Symphony Orchestra, Thompson Jazz Studies Program, choirs and other student ensembles thrill audiences with timeless classics and groundbreaking new works.

September-April

Join us for a student recital Most weeks, free Student Degree Recitals offer myriad works performed by student soloists.

Follow the College of Music @cubouldermusic @musicatcu

@cupresents · #cupresents

9

Groundbreaking Beautiful and Unapologetically Black The everlasting vision of Alvin Ailey

By Becca Vaclavik

10

2021-22 Season

Editor’s note: Alvin Ailey died on Dec. 1, 1989, from complications due to AIDS. He was 58. All quotes in this story are pulled from old interviews, his incomplete autobiography, as well as footage from the documentary Ailey.

Evenings spent watching adults unwind in segregated dance halls.

Joyous spirituals sung in a rural Texas church. Watching professional Afro-Caribbean dancers on stage for the first time. In the earliest days, picking cotton at sunset; later, feeling the collective racial trauma of the murder of Fred Hampton.

These snapshots belong to iconic choreographer Alvin Ailey. They make up what he referred to as his “blood memories”: formative Black experiences that lived and thrummed deep in his bones and shared a universal story across generations. These memories influenced some of his most famous works, such as Revelations and Blues Suite, and laid the groundwork for his vision of Ailey II, Alvin Ailey American Dance Theater’s second company, which will perform in Macky on Feb. 16.

From a lack of representation…

Born to a single mother in rural Texas during the Great Depression, Ailey didn’t encounter professional theatre or ballet until he was a teenager living in Los Angeles.

Though he was immediately awestruck by professional dance, he initially didn’t see a place for himself in that world.

Ailey felt the sting many young artists still feel today—a lack of representation on stage of any artist who looked like him. Heading to L.A. concert halls as often as he could, it still would be several years before he witnessed his first

professional performance by a Black dancer. When he finally did, he was inspired to usher in a new era of choreography.

“I wanted to show Black people that they could come down to these concert halls, and there was a part of their culture being done there. And that it was universal,” he once said.

…To representing the human experience That duality, unique in its Blackness but universal in its humanity, was critical to Ailey’s vision for the future. Of his art, Ailey said: “I feel an obligation to use Black dancers because there must be more opportunities for them. But not because I'm a Black choreographer talking to Black people.”

In fact, while Ailey loved creating work and opportunities for his community, he sometimes confessed to resenting how he was perceived in a systemically racist dance community.

“The problem is that if you’re a Black anything in this country, we want to put you into a bag. People sometimes say, ‘Well, you know, why is he doing that? Why can’t he stick to the blues or to the spirituals?’ I’m also a 20th century American. And I respond to Bach and Ellington ... and Simon Barber.

And why shouldn’t I?” Because of this, Ailey’s work (both the person’s and the company’s) is political… And it isn’t.

“I certainly feel like my art is to express my feelings on all levels.

But not all the works are political … They certainly reflect my feelings about what goes on in this country.

I mean, I can’t get over that, I’m a Black man living in this!”

Ailey’s lasting vision In 1958, Ailey founded Alvin Ailey American Dance Theater to carry out his vision of a company dedicated to enriching the American modern dance heritage and preserving the uniqueness of the African-American cultural experience. He went on to establish The Ailey School in 1969 and Ailey II in 1974.

“The reason I do what I do now is because of a wonderful man [choreographer Lester Horton] who made me feel—a young Black man at 18 in Los Angeles living in the ghetto—that I was meaningful, that I meant something,” he said.

“It’s an atmosphere of giving, of love, of warmth. It’s about watching young people grow … I want it to be easier than it was for me.”

Nearly 50 years on, Ailey II has developed a worldwide reputation for an aesthetic of effusive passion. Comprising a typicallyyounger company of up-andcoming multiracial dancers who perform works from emerging choreographers, the ensemble carries on Ailey’s early dreams of a more inclusive dance world.

Francesca Harper, Ailey II’s artistic director as of September 2021, grew up in the halls of the Alvin Ailey American Dance Theater, where her mother worked as director of the school for many years. Harper knew Ailey personally before his death in 1989, and she shares something of his essence and vision personally. Speaking to the New York Times, Ailey artistic (continued on next page) @cupresents · #cupresents

11

“She’s an inspiration for being bold and trying different things.

The other part of it is just her as a teacher: She has that nurturing quality that is so important. I think she has the right amount of empathy, but discipline, to impart.”

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Ailey II’s artistry

Africa to Jamaica, many of the pieces are definitively rooted in Black (and often queer) culture.

But all of them, like Ailey’s original work, are ultimately universal.

They aren’t just one choreographer’s blood memories. They are humanity’s.

As Ailey once said, the work— like our history itself—promises to be “sometimes sorrowful, sometimes jubilant. But always hopeful.”

A look at Ailey II’s current repertory places this bold empathy front and center.

Photo credit: Jack Mitchell (©) Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution

The company is touring across the U.S. with stories of resilience in the face of a breaking point, charismatic but flawed leaders, the importance of community, and the vulnerability that comes from loving after great loss.

Featuring choreographers from Harlem to Atlanta, from South

 Ailey II performs in Macky Auditorium on Feb. 16.

Tickets start at just $24 at cupresents.org.

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New endowed fund to foster DEI through American Music Research Center

By John Moore

Abel Chavez considers himself “a disciple for paying it forward.”

Abel Chavez

“One moment your life can be turned upside down and inside out,” says the retired longtime telecommunications government affairs director from Pueblo.

“But music is such an important part of our well-being. It can be a therapy for a woman who is experiencing postpartum depression. It can be a therapy for people struggling with Alzheimer's and dementia.

It was and still is therapeutic for me.”

Chavez’s heart is so full from the joy of music, family, faith and philanthropy, you might never know how often it has been broken. Chavez lost his wife, College of Music alumna Rebecca Beardmore Chavez, in a 1996 auto collision. Their daughter, Briana Lee Rees, passed away unexpectedly in 2018.

“I was able to bounce back,” Chavez says, “by using music and philanthropy as a way of healing.”

Chavez established a music scholarship endowment to honor Rebecca in 1996 and made another major contribution in 2018 to pay tribute to Briana. The Rebecca Beardmore Chavez/Briana Lee Rees Music Education Scholarship Endowment has benefitted 80 students to date and is currently valued at more than $110,000.

More recently, Chavez created a new $25,000 endowed fund to foster Diversity, Equity and Inclusion (DEI) efforts through the College of Music’s American Music Research Center (AMRC). AMRC Director Susan Thomas calls Chavez’s support for the AMRC’s DEI efforts “inspirational.”

18

2021-22 Season

Chavez joined the College of Music’s advisory board in the 1990s with the goal of improving facilities. Now that the $57 million addition to the Imig Music Building has placed CU Boulder among the top public music programs in the nation, Chavez—as a member of the AMRC's advisory board—has turned his attention to opening more doors to Hispanic, Black, Indigenous, People of Color (BIPOC) student artists.

Chavez has known for all his life what it’s like to be part of an underrepresented community. Even though Pueblo is 51 percent Hispanic, “we still have issues around diversity, equity and inclusion,” he says.

“The bottom line here is that we have a real opportunity to use the American Music Research Center as a uniting force to bring together people of different cultures, ethnicities, perspectives and walks of life. I see this work as not only educational, but as a strategy to improve the environment in which persons of color are pursuing their educations at CU Boulder.”

Chavez doesn’t look at giving of his time—or his money—as a moral responsibility. It’s in his DNA. “Life is so precious,” he says. “I think the best way we can show our kindness and caring for others is by helping them.”

 Learn more about DEI activities at the College of Music (visit colorado.edu/ music/diversity-equity-inclusion) and consider supporting the American Music Research Center (visit giving. cu.edu/fund/american-musicresearch-center-endowment).

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Outstanding Graduating Senior 2021: Ariel Flach

By MarieFaith Lane

“I’m most thankful to have collaborated with so many stellar, passionate musicians—the students, faculty and College of Music community overall. Their commitment to creating beauty in this world inspires me.”

They continue, “I couldn’t have asked for better colleagues to learn with. Weathering the events of 2020 and 2021 together bound us together in unique ways, and we continue to rely on one another through unprecedented and uncomfortable circumstances.”

“The community I got to be part of at the College of Music is resilient, creative and dedicated to creating a more beautiful world.

I’m so thankful to be a part of it.”

Congratulations to Outstanding Graduating Senior Ariel Flach, a dual degree student earning both a Bachelor of Music Performance (flute) and a Bachelor of Music Education! Flach personifies the College of Music’s vision of the “universal musician,” emphasizing students’ preparedness for flexible careers through enhanced education.

Flach was drawn to our college because of the variety of opportunities offered, encouragement from faculty and donors, and the support of their flute professor, Christina Jennings, “who exemplifies CU music faculty’s commitment to student wellness and creativity. Her innovative teaching style combined with her passionate musicianship have brought out the best in me,” says Flach.

Honored to receive recognition as Outstanding Graduating Senior, Flach is grateful for the College of Music as it “provided me countless opportunities to develop my own voice as a musician, educator and human being. I loved having the opportunity to pursue excellence both musically and academically through the performances, projects and leadership initiatives my peers and I worked so hard on.”

22

2021-22 Season

Says Matthew Roeder, associate dean for undergraduate studies and enrollment management, and associate professor of conducting and music education: “The faculty recognized Ariel as having a strong track record of scholarship, musicianship and an emerging record of service and leadership.

Ariel has been heavily involved in the CU Chapter of the National Association for Music Education serving as a leader in this student group focused on music education. Ariel has also been dedicated to and highly involved in our Diverse Musicians’ Alliance.”

Following graduation, Flach has accepted a long-term substitute teaching position instructing kindergarten through fifth-grade students. They will also continue to work as a freelance flutist, performing and teaching private students, and they hope to teach middle or high school band beginning fall 2022 … and to attend graduate school in the not-too-distant future.

 For more College of Music news, visit colorado.edu/music/newsroom.

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Takács Quartet Anonymous Leslie and Philip Aaholm Roberto Abreu Karen Anderson and Bob Arnold Marcia Geissinger and Neil Ashby Mary Axe Robert Barford Pamela Barsam Brown and Stanley Brown Ingrid Becher Ellen and Dean Boal Chris and Margot Brauchli

Joan and Michael Buhler Tom and Carol Cech Chris and Barbara Christoffersen Pauline and Noel Clark Charlotte Corbridge Alison Craig and Stephen Trainor JoAnn and Richard Crandall P.J. Decker and Beth Saperstein Barbara and Carl Diehl Ann and William Ford Lauren Frear Mayumi Fujita Lloyd and Mary Gelman Dayna and Laurence Granston Catharine and Richard Harris Laurie Hathorn Anne Heinz and Ran Yaron Suzanne Helburn Ruthanne and John Hibbs Doree Hickman Jon and Liz Hinebauch IBM International Foundation Ruth and Richard Irvin Karin and Tary Jenkins Ann Johnson and Robert Sprinkle Kyonggeun and Bruce Johnson Judy and Gary Judd Jennifer and Bob Kamper Caryl and David Kassoy

Carol and Tony Keig Mireille Key Walter and Eileen Kintsch Judith and Peter Kleinman Carol Kovner Ellen and Dale LaGow Harold and Joan Leinbach Alice and Judah Levine Judy and Harrie Lewis Louise and Ray Lindsey Patience and Jim Linfield Mary and Dennis Link Albert Lundell Jerry and Heidi Lynch Carrie Malde Annyce Mayer Helen McKeown Colleen McNutt Lise Menn Margaret Oakes JC Oliverio Jim Pendleton Vivianne and Joel Pokorny Alan Reisman Yuki Renwick Elissa Stein and Richard Replin Mikhy and Mike Ritter Janet Robertson Joanna and Mark Rosenblum Becky Roser and Ron Stewart Tom Rounds Peg and Chuck Rowe Marian and William Safran Elaine Schnabel

Schwab Charitable Fund JoAn Segal Gail and Michael Shimmin Kristin and Wayne Sidney Elaine and Peter Simon Grietje Sloan Allen Stenger Helen Stone Lynn Streeter Kathleen Sullivan Takacs String Quartet The Denver Foundation The Merck Company Foundation Larry and Ann Thomas Anne Thomasson Marion Thurnauer and Alex Trifunac Laurie and Arthur Travers, Jr. Jessica and David Vance Lois and Gordon Ward, Jr. Juli and Larry Weiss Robert Wilson Phyllis Wise Lena and James Wockenfuss This list includes Artist Series, Eklund Opera and Takács Quartet donors of $100+ between 10/11/202010/10/2021. Every effort has been made to present this list as accurately as possible. If you have any questions, please contact 303-492-2869.

Artist Series sponsors Corporate sponsors

In-kind sponsors

@cupresents · #cupresents

25

Personnel

Policies

As of Dec. 10, 2021

CU Presents Executive Director Joan McLean Braun Marketing and PR Director Laima Haley Operations Director Andrew Metzroth Director of Communications, College of Music Sabine Kortals Stein Assistant Director of Marketing Daniel Leonard Assistant Director of Public Relations Becca Vaclavik House Manager Rojana Savoye Publications Specialist Sabrina Green Communications Assistant, College of Music MarieFaith Lane Editorial Communications Assistant Sam Bradfield Marketing Communications Assistant Emma St. Lawrence

Video Producers Ashwini Anupindi Jacqueline Sandstedt

Production Managers Richard Barrett Chris Evans

Box Office Manager Christin Rayanne

House Manager Rojana Savoye

Box Office Services Coordinator Adrienne Havelka

Assistant House Manager Devin Hegger

Box Office Assistants Macy Crow Jenna Christine Skylar Pongratz Morgan Ochs Lily Valdez

Dean John Davis Associate Dean for Graduate Studies Margaret Haefner Berg

Recording Engineer Kevin Harbison

Associate Dean for Undergraduate Studies and Enrollment Management Matthew Roeder

Director Rudy Betancourt Assistant Director for Patron Services Matthew Arrington Assistant Director for Administration Sara Krumwiede Assistant Director for Production Trevor Isetts

The University of Colorado is committed to providing equal access to individuals with disabilities. For more information, visit cupresents.org/accessibility.

Contact the box office

cupresents.org · 303-492-8008 Hours: Monday-Friday, 10 a.m.-5 p.m.

College of Parking Music Cabinet Paid parking is available in the Euclid Parking

Lead Box Office Assistant Alex Herbert

Macky Auditorium

Accessibility

Interim Assistant Dean for Advancement Micah Abram Assistant Dean for Concerts and Communications Joan McLean Braun

Garage, and in Lots 310 and 204. Contact the box office or check the CU Presents website for more information.

Photography

Photography and video recordings of any type are strictly prohibited during the performance.

Smoking

Smoking is not permitted anywhere. CU Boulder is a smoke-free campus.

Ticket sales

Ticket sales are final; no refunds. Exchanges are subject to availability and must be made at least one business day prior to the day of performance.

Assistant Dean for Budget and Finance Carrie Howard

Subscribers may exchange tickets for free.

Single-ticket exchanges are subject to a $3 exchange fee. Upgrade fees may apply in all cases.

Executive Assistant to the Dean Lauren Petersen

Please return your tickets to the box office prior to the performance if you are unable to use them.

JP Osnes (1961-2021) worked at Macky Auditorium for 40 years, 36 of those years as the technical director. The structural integrity and beauty of this hall was a part of his being. He thrived having the consistency of training and guiding a top-notch crew with the diversity of the wide array of artists, musicians, and prominent speakers who graced the Macky stage. JP is ever loved by his wife, Beth, and his children, Peter, Melisande, and Lerato.

26

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