CU Presents Magazine Winter 2016, March 17, 2017

Global performance. World-class entertainment. You have to be here.

Die Fledermaus

By Johann Strauss Oct. 21-23, 2016

The Magic Flute

By Wolfgang Amadeus Mozart March 17-19, 2017

Artwork: Mark Schroder

Artwork: Janalee Robison janaleerobison.com

Artwork: Janalee Robison janaleerobison.com

2016-2017 Season

Red Hot and Cole

Music and lyrics by Cole Porter April 27-30, 2017

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Contents

With US

Flute Month .........................................6 Calendar ..............................................8 Bud Coleman .....................................20 CU NOW .................................. ..........22 Artist Series donors ...........................26 TakĂĄcs Society donors .....................30 Eklund Opera donors .......................32 Personnel lists ..................................34

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CU's Flute Month 80th Anniversary

Football games. Fourth of July parades. Princess Leia’s theme in “Star Wars.”

All of these cultural hallmarks have something surprising in common: They prominently feature the flute.

“The flute is everywhere,” says Christina Jennings, associate professor of flute at CU Boulder. “We’re surrounded by the sound of it without consciously being aware of it. It’s part of our human identity.”

Jennings loves the instrument so much that she’s created a two-day festival called Once A Flutist for youth, alumni, lapsed adult flutists and curious community members. It’s just one of many flute-centric events happening this March; also on the agenda are concerts featuring world-famous musician James Galway and Irish ensemble Danú, a free Faculty Tuesday event with Jennings and some of her flute studio alumni, and a colorful Eklund Opera production of Mozart’s “The Magic Flute.”

While CU Presents Executive Director and flutist Joan McLean Braun says the collision of flute events in March was pure coincidence, she’s not surprised: it’s one of the most popular instruments out there.

“It’s a fun instrument, lovely and melodic, so it lends itself well to all kinds of music,” she says. “As soon as I could finally make a sound on the dang thing, I was hooked.”

She’s looking forward to hearing James Galway, who reached fame through collaborations with the Chieftains

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and recordings for “The Lord of the Rings” soundtracks, in recital.

“He has a magnetic personality, and he’s really been an ambassador for the flute and all of the different genres it can inhabit,” Braun says. “He approaches it with joy and fun, and I think people respond to that.”

“Joy” and “fun” are also apt descriptors of “The Magic Flute,” the world’s most famous and frequently performed opera. Though today it’s often staged for children, Eklund Opera Music Director Nicholas Carthy says Mozart wrote it for people of all ages to enjoy.

“It seems to appeal to everybody on several different levels,” he says. “On a very basic level, the story is a lot like ‘Shrek’—a romantic comedy with a funny sidekick who talks too much. But there are so many levels to the plot—not to mention the incredible music.”

Jennings, who fell in love with “The Magic Flute” as a child and performed it with Houston Grand Opera, is delighted she’s involved in a month-long, campus-wide celebration of the oldest instrument on Earth, one that’s touched every continent and almost every culture.

“If you ask most flute players why they were attracted to it,” she says, “it always has something to do with the sound. It’s so close to singing and the sound holds so much possibility.”

Danú: Saturday, March 4 | tickets start at $20 Once A Flutist: March 21 & 22 | more information at colorado.edu/music/once-a-flutist The Magic Flute: March 17-19 | tickets start at $20 James Galway: Wednesday, March 22 | tickets start at $20

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Hear Kwabena’s story in his own words CE.COLORADO.EDU/CATCHUP

That moment when you decide to change direction.

CE gives you the tools to accomplish your goals on your terms—online, in the evening, or during the summer.

Own Your Journey. ce.colorado.edu

2016-17 Season Danú The World’s Greatest St. Patrick's Day Celebration Danú brings together virtuosi players on flute, tin whistle, fiddle, accordion, vocals and more for a high-energy performance of ancient Irish music and new repertoire.

This fan favorite returns to Boulder for an unforgettable St. Patrick’s Day concert.

Saturday, March 4 2017 7:30 p.m.

80th Anniversary

Sir James Galway, Lady Jeanne Galway and friends

“The Man with the Golden Flute” pays a visit to Boulder for a mesmerizing, genre-defying performance. Between his classical credits, his star-studded collaborations and his iconic recordings for The Lord of the Rings films, Sir James Galway is the premier flutist of our time.

Wednesday, March 22, 2017 7:30 p.m.

Global performance. World-class entertainment. You have to be here.

Faculty Tuesdays 7:30 p.m., Grusin Music Hall • Free and open to the public

February 28

March 7

March 14

Violinist Geraldine Walther and friends Geraldine Walther, Harumi Rhodes, David Requiro and David Korevaar perform a variety of works and styles, from Beethoven's String Trio in G Major to Schoenberg's seldom-performed String Trio to the romantic and popular Piano Quartet in E-flat Major by Robert Schumann.

Pianist Alexandra Nguyen and friends This program features the creative outcomes of musings: contemplations on color and energy, the cosmos and life.

Don't miss the beloved Patrick Mason in his last faculty performance before he begins his exploration of new vistas at the end of the academic year. Works by Higdon, Gougeon and Rachmaninoff.

Tubaist Mike Dunn and friends A varied concert featuring Mike Dunn, students and facutly of the College of Music.

From Old to New

Musings

More info at

Tuba or Not Tuba

March 21

Once a Flutist...

Flutist Christina Jennings and friends Christina Jennings performs as part of the Once a Flutist festival in a program celebrating the diversity and community of the oldest instrument on Earth. Joining her will be members of the Eisenhower Elementary School choir, the CU choirs wtih conductor Gregory Gentry, and many current and former CU flute studio alumni.

colorado.edu/music

Can’t make it? Watch the online livestream at our website!

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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."

Sunday, March 19, 4 p.m.

Monday, March 20, 7:30 p.m.

Sunday, April 30, 4 p.m.

Monday, May 1, 7:30 p.m.

Red Hot and Cole celebrates Cole Porter, the great American songwriter who brought style, elegance and sophistication to Broadway and Hollywood, delighting the world with clever rhymes, fresh melodies and a sassy, sexy sensibility.

The Magic Flute Like a fantasy adventure film come to life, Mozart's The Magic Flute blends together whimsical humor and irresistible melodies to tell the gripping story of a prince who must outwit an evil queen to be united with his true love.

April 27-30

March 17-19

The Rocky Horror Show Opens March 3

by Richard O'Brien

When a newly engaged couple gets caught in a storm and meets the tan, muscular new creation of mad transvestite scientist Frank N. Furter, their world is forever changed.

Coming Soon Fefu and Her Friends

by Maria Irene Fornes Opens April 5 FRESH a Dance Sampler Opens April 28

Alter/Altar Opens March 3 MFA Dance Works In a shared evening of dance, MFA candidates Gwen Ritchie and Arneshia Williams each create, revisit and revise spheres of knowing from their own unique kinesthetic voices.

Peter and the Starcatcher Opens April 14

by Rick Elice, with music by Wayne Barker based on the Novel by Dave Barry and Ridley Pearson Ever wondered what Peter Pan’s childhood was like before Wendy met him in Neverland? Based on a best-selling 2006 novel, Peter and the Starcatcher travels back to Peter’s early adventures in an orphanage, aboard a weather-beaten ship holding precious cargo and on a magical remote island.

Plus much more! colorado.edu/theatredance/events

The Current

(Dance Series) Faculty and guest artists present innovative dance works that reflect the rich diversity of CU Boulder’s Dance Division. From transnational fusion to experimental dance theatre, from Hip-Hop to aerial dance, audiences will experience the depth and dimension of the program’s offerings.

Celebrate the 60th Season of the Colorado Shakespeare Festival!

2017 Lineup:

The Taming of the Shrew Hamlet Julius Caesar Rosencrantz & Guildenstern are Dead 60th Season

coloradoshakes.org

by Tom Stoppard

Henry VI, Part 3

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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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2016 -17 SEASON The Boulder Phil Goes to Washington, DC: “NATURE & MUSIC” CONCERTS Sat., Mar. 25, 7:30 PM Macky Auditorium Tue., Mar. 28, 8 PM Kennedy Center, DC LIAS All the Songs that Nature Sings

Commemorating the 100th anniversary of the National Park Service with choreographed visuals

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(Die Zauberflöte)

by Wolfgang Amadeus Mozart

Role

Friday & Sunday Cast Saturday Cast

Tamino Pamina Queen Papageno Papagena Sarastro First Lady Second Lady Third Lady Monostatos Speake r Priest First Armored Man Second Armored Man First Boy Second Boy Third Boy Slaves

Michael Hoffman Ekaterina Kotcherguina Neila Marie Wisniewski Getz Joshua DeVane Paige Sentianin Chas Douthit Nadya Hill Katheryne Baker Claire McCahan Michael Aniolek Jesse Enderle Christian Arguello Bryce Bartu Jesse Enderle Sophia Zervas Julieta Garcia Jade Espina Ryan Crone Sean Butcher Hubert Chan

Jacob Baker Anna Whiteway Alicia Baker Skyler Schlenker Paige Sentianin Chas Douthit Maureen Bailey Mary Kettlewell Emma Vawter Charles Daniel Jesse Enderle Christian Arguello Bryce Bartu Jesse Enderle Sophie Malia Ledingham Taylor Graham Caroline Vickstrom Ryan Crone Sean Butcher Hubert Chan

Chorus

Melissa Moreno ● David Skuban ● Elizabeth Gangware ● Ryan Crone Elizabeth Bowersox ● Patrick Bessenbacher ● Lindsay Goldworm ● Caleb Pimmel Sophia Zervas ● Aaron Loeffler ● Sophie Malia Ledingham ● Tyler Hansen Taylor Graham ● Hubert Chan ● Julieta Garcia ● Jesse Enderle ● Jade Espina Christian Arguello ● Caroline Vickstrom ● Bryce Bartu Music Director and Conductor Stage Director Set and Lighting Designer Costume Designer Technical Director Assistant Stage Director

Nicholas Carthy Herschel Garfein Peter Dean Beck Tom Robbins Ron Mueller Malcolm Ulbrick

Production will run approximately 2 hours and 55 minutes including one 20-minute intermission Before performance begins, please switch off cell phones and other electronic devices SPECIAL THANKS TO HARLEQUIN COSTUME CO. IN WINNIPEG, MB FOR PROVIDING COSTUMES Join us for Twittermission! Tag us in your post or selfie and you could win a pair of vouchers to any CU Presents performance. @cupresents

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EKLUND OPERA PROGRAM—The Magic Flute, March 17-19, 2017

The Magic Flute

EKLUND OPERA PROGRAM—The Magic Flute, March 17-19, 2017

Orchestra Violin 1 Tom Yaron Caitlin Stokes Sarah Elert Stephanie Yu Grace Harper Paul Kim Jonathan Galle Lea Mattson Violin 2 Ava Pacheco Ryan Foley Crystal Schneckenburger Lindey Hoak Lina Osmundson Maggie Brady Kashmira Tata Kiana Kendall

Viola Mario Rivera Alice Sprinkle Josef Fischer Maddie Noles Breana McCullough Cello Roberto Arundale Kamila Dotta Avery Johnson Ernie Carbajal Bass Dante Ascarrunz Jesse Fischer

Production & Technical Staff Assistant Conductor Choreography Musical Preparation Chorus Master Assistant Technical Director Stage Manager Assistant Stage Manager s Stage Management Intern Costume Designer Costume Assistants Makeup Designer Wigmaster Hairstylist Hand Propmaster Rehearsal Pianists Production Assistant Supertitles provided by Supertitles Operator Carpenters

Scenic Artist Assistant Scenic Artists

Christopher Tran Stephen Bertles Mutsumi Moteki Jeremy Reger Jeff Dixon Jeff Rusnak Margaret Kayes Christina Adams Courtney Williams Adam Oconnell Tom Robbins Whitney Wolanin Alison Milan Jeannete Hickok Tom Robbins Sarah Opstad Tom Robbins Benjamin Sieben Cecilia (Lo-Chien) Kao NathĂĄlia Kato Chris Martin Jeremy Sortore Malcolm Ulbrick Cooper Braun-Enos Dan Sjaastad Ben Smith Justin Tamplin Jennifer Melcher Jamie Holzman Lelah Radostis

Flute Joshua Hall Julio Zabaleta

Trumpet Melinda Ho Jessica Erbe

Clarinet David Leech Colby Bond

Trombone William Combs Evan Johnson Ben Garcia

Oboe Heather Macdonald Michael Ochoa Bassoon Gyunsun Im Michelle Chen

Keyboard Glockenspiel Emily Alley

Horn Cort Roberts Jason Friedman

Macky Auditorium Staff Assistant Technical Director Master Electrician Assistant Master Electrician Rail Operator Sound Engineer Deck Hand Spot Operators Pit Manager

Rhett Snyder Cooper Braun-Enos Chris Evans Ben Smith Dan Sjaastad Jennifer Melcher Chris Evans Hazel Jeffrey Sean Kuncis

CU Presents Staff

Dean, College of Music Executive Director Marketing and Public Relations Director Public Relations Manager Assistant Director of Communications/Web Admin.

Marketing Manager Publications Specialist Graphic Design Assistant Social Content Creator Communications Assistant Video Production Assistants Operations Director Box Office Services Manager Box Office Assistants

Photography

C-2

Timpani Alberto Ortega

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Robert Shay Joan McLean Braun Laima Haley Jill Kimball Jessie Bauters Daniel C. Leonard Sabrina Green Analise Iwanski Morgan Gallo Maureen Bailey Jackson Xia Emma Salvati Andrew Metzroth Michael Casey Elise Campbell Taralynn Dorr Adrienne Havelka Megan Quilliam Chris Ruiz Karen Van Acker Glenn Asakawa Patrick Campbell Casey A. Cass

Synopsis Prince Tamino, pursued by a serpent, is saved by three ladies in the service of the Queen of the Night. After they have left, the birdcatcher Papageno enters. He explains to Tamino that he is given food and drink by the Queen’s ladies in return for his birds and claims that it was he who killed the serpent. The ladies return to give Tamino a portrait of the Queen’s daughter, Pamina, who they say is being held prisoner by the evil Sarastro.

Then they padlock Papageno’s mouth for lying. Tamino falls in love with Pamina’s portrait at first sight. The Queen appears. She grieves over the loss of her daughter and asks Tamino to rescue her. The ladies hand Tamino a magic flute to ensure his safety on the journey. Papageno, who is to accompany him, is given magic silver bells. Three spirits are appointed to guide them.

In Sarastro’s palace, the slave Monostatos pursues Pamina. He is frightened away by the arrival of Papageno, who tells Pamina that Tamino loves her and is on his way to save her.

Led to Sarastro’s temple, Tamino learns from a priest that it is the Queen who is evil, not Sarastro, and that Pamina is safe. He plays on his flute, charming the animals with the music and hoping that it will lead Pamina to him. When he hears the sound of Papageno’s pipes, he rushes off to follow it. Monostatos and his men chase Papageno and Pamina but are rendered helpless by Papageno’s magic bells. Sarastro, entering in ceremony, promises Pamina eventual freedom and punishes Monostatos. Pamina is enchanted by a glimpse of Tamino, who is led into the temple with Papageno.

Act II

Sarastro tells the priests that Tamino will undergo initiation rites. Papageno and Tamino are sworn to silence. The three ladies appear and have no trouble derailing Papageno from his course of virtue, but Tamino remains firm.

Monostatos tries to kiss the sleeping Pamina but is chased away by the arrival of the Queen of the Night. She gives her daughter a dagger and orders her to murder Sarastro. Pamina is left alone in tears and consoled by Sarastro who explains that he does not seek vengeance against the Queen.

Papageno is quick to break a new oath of fasting and jokes with a flirtatious old lady, who vanishes when he asks for her name. Tamino remains steadfast, breaking Pamina’s heart: she cannot understand his silence.

The priests inform Tamino that he has only two more trials to complete his initiation. Papageno, who has broken his oath, is eliminated from the trials. Pleading for a wife, he eventually settles for the old lady. When he promises to be faithful to her she turns into a young Papagena but immediately disappears.

Despairing over Tamino’s apparent indifference, Pamina is about to commit suicide but is saved by the three spirits. She finds Tamino and walks with him through the ordeals of water and fire, protected by the magic flute. Papageno also is saved from a halfhearted attempt at suicide by the spirits, who remind him that if he uses his magic bells he will find true happiness. When he plays the bells, Papagena appears and the two are united.

The Queen of the Night, her three ladies and Monostatos attack the temple but are defeated and banished.

Sarastro joins Pamina and Tamino as everybody praises the gods Isis and Osiris and the triumph of courage, virtue and wisdom.

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EKLUND OPERA PROGRAM—The Magic Flute, March 17-19, 2017

Act I

EKLUND OPERA PROGRAM—The Magic Flute, March 17-19, 2017

From Stage Director Herschel Garfein, Guest Stage Director of the Eklund Opera Program It occasionally happens that the very greatest works of dramatic art arise from the most mundane of concerns: the desire to put together something that will readily please the public, fill seats in the theater and bring in cash at the box office. Singin’ in the Rain, generally acknowledged to be the greatest film musical of all time, was created in 1952 because the MGM studio owned a catalog of forgotten songs from the 1930’s written by its newly installed head of musical production, Arthur Freed. The studio wanted a fresh copyright on that music and hired Betty Comden and Adolph Green to write a new script that would somehow tie together some dozen or more completely unrelated songs. (“Unrelated” is an understatement—the title song had originally been a fast Biblical-themed tap dance number set on Noah’s ark.) However unpromising the film’s origins, there were geniuses at work on Singin’ in the Rain, and what emerged we appreciate as wildly imaginative, hilarious and tender, while still exhibiting huge swaths of unabashed illogic that somehow contribute to the movie’s charm. (I defy anyone to explain the presence in the film of the story ballet "Broadway Melody," let alone the missile-bra fashion show number, "Beautiful Girls.")

And so it is with The Magic Flute. It began life as a genial, commercial collaboration between two friends: the theater owner, impresario, actor, sometime singer and notorious full-time womanizer, Emanuel Schikaneder, and Wolfgang Mozart, the greatest opera composer of all time. The two had met a decade earlier when Schikaneder’s troupe toured Salzburg and befriended the Mozart family, so when Mozart moved to Vienna in 1781 he renewed the connection, frequenting Schikaneder’s Theater auf der Wieden and contributing occasional arias and compositions to his productions. Schikaneder was above all a theater-owner; he had to produce plays and operas very quickly to satisfy the middle-class public of Vienna and to keep his doors open. When he proposed the idea of Die Zauberflöte to Mozart in April 1791, he was attempting to ride a wave of fairy-tale operas and of operas placed in exotic settings, both of which were enjoying popularity in Vienna that season. Working closely together, the creators settled on the popular form of singspiel, combining singing and dialogue; Schikaneder wrote the plum comic role of Papageno for himself and the opera was finished by the end of July (Schikaneder had a special little hut constructed for Mozart on the grounds of the theater to minimize his distractions). The result was an immediate and resounding success—a glorious, audience-pleasing amalgam to make the creators of Singin’ in the Rain blush. Many books have been written about its plot inconsistencies; I’ll only say, if you notice them, don’t doubt yourself.

What interests me more is how Mozart both comfortably inhabits the generous variety-show format of The Magic Flute and transcends it.

The opera shares important themes with Mozart’s other great operas: themes of love, self-deception, the manipulation of the weak by the powerful, men’s underestimation of women, the joys of sexual fidelity. Yet at every turn, the comedy is lower and the exalted reach higher than Mozart ever attempted before. Patter songs rub shoulders with Masonic hymns and sublime odes to marital love (“Bei Männern”); one character attempts to sing with his mouth blocked, as another offers an immortal tribute to mercy and fellowship (“In diesen heil’gen Hallen”); the Queen of the Night explodes onto the stage with two of the most fierce and challenging operatic arias ever written, yet characters often break from the story to sing simple moral lessons directly to the audience in a confiding pianissimo. Everywhere, we see at work the crucial Mozartian dramatic principle that characters sing with beauty and emotional conviction from their own point of view so that we in the audience must make up our own minds about the merits and contradictions of their actions.

I must express my gratitude to this wonderful cast of young singer/actors of the Eklund Opera Program who have (literally) thrown themselves into this production with tremendous physical energy, vocal prowess, musical intelligence and devotion to emotional truths.

In tonight’s production, the arias will be sung in the original German (with supertitles) and the dialogue will be in English, in a new adaptation I prepared for this production.

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From Music Director Nicholas Carthy

Was he poisoned out of jealousy by Salieri? Was he murdered by his Masonic lodge brother Franz Hofdemel, who suspected the composer of having an affair with his wife and who, on the day after the composer’s death, viciously attacked and disfigured his wife before committing suicide? Or was he dispatched by the Masons for supposedly giving away their secrets in his last opera, The Magic Flute?

The truth is probably much more prosaic. Mozart never enjoyed good health, and the stress of touring Europe as a child prodigy and contracting rheumatic fever, coupled with the fact that he underwent bloodletting (as was standard medical practice at the time) a few days before his death, almost certainly contributed to his early demise. But even the general acceptance of illness as cause of death has not cleared the fog of mystery.

The Journal of Internal Medicine, in a remarkable piece of historical detection, once published an article suggesting that Mozart died after contracting the trichinosis parasite by eating undercooked pork chops.

However Mozart died, his death at the age of 35 was one of the great tragedies of the musical world. In The Magic Flute, written in the final months of his life, Mozart had begun to develop a new way of composing and a much more motivic style of writing. In The Magic Flute, there are musical motives for many of the aspects of the piece: brotherhood, the act of giving and the night in all its different guises are all represented by melodic and harmonic fragments, something that was a radical new departure for Mozart. It is as if he were just developing a new, late style when death struck.

The Magic Flute ostensibly tells the story of Prince Tamino’s quest to rescue Pamina and to be initiated with her into the brotherhood. The parallel story is Papageno’s quest to find his Papagena while doing his best to avoid the trials that Tamino has to undergo.

The libretto has many elements of classical plot structure—the defeat of the monster, the quest, comedy, rebirth and the over-talkative companion (think: Donkey in Shrek)—without actually being a story in the classical sense. It is far more an allegory of the way the Freemasons saw themselves: as enlightened, tolerant and charitable. So The Magic Flute, far from being a betrayal of Masonic secrets, is in fact a plea from the Masons themselves, who were in danger of being banned by the Austrian Monarchy (and were eventually banned in 1794). The opera is saying, in effect, that the brotherhood is not only open to princes (Tamino) but also to women (Pamina), and even those who do not wish to undergo the trials of initiation will still be helped (Papageno finding his Papagena). This message is emphasized at many points in the opera, where the protagonists turn to the audience, giving them a sort of moral running commentary.

The Magic Flute, despite its popular style, is one of the most profound pieces Mozart wrote. It sits on the cusp of a future that did not happen, and it is a poignant reminder of what we lost when Mozart departed this world in 1791.

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EKLUND OPERA PROGRAM—The Magic Flute, March 17-19, 2017

There is probably more mystery, rumor and innuendo surrounding the death of Mozart than that of any other composer, or even any other historical figure.

EKLUND OPERA PROGRAM—The Magic Flute, March 17-19, 2017

The Company CHRISTIAN ARGUELLO—Priest This is Mr. Arguello’s debut role with Eklund Opera. He is a student of Matthew Chellis.

MICHAEL ANIOLEK—Monastatos Mr. Aniolek has performed roles in several productions with Eklund Opera.

Credits include Le Chevalier in Dialogues of the Carmelites, Dr. Blind in Die Fledermaus and an Angel in the CU NOW workshop of Jake Heggie’s It’s a Wonderful Life. This April, he will be singing the role of Cole Porter in the musical revue Red Hot and Cole. Most recently, he made his stage directing debut with Ned Rorem’s Three Sisters Who Are Not Sisters and has worked as an assistant director for Dr. Leigh Holman. Mr. Aniolek is a student of Matthew Chellis.

MAUREEN BAILEY—First Lady Ms. Bailey is in her first year as a master’s degree candidate in vocal performance at CU Boulder with a Bachelor of Music in French horn performance from DePauw University. This is her second production with Eklund Opera, having recently covered the role of Rosalinda in Die Fledermaus and performed scenes from Bellini's I Capuleti e i Montecchi in the scenes program this fall. Ms. Bailey has also participated in the workshop of Jake Heggie and Gene Scheer’s It’s A Wonderful Life during CU NOW 2016 and joined the Loveland Symphony in January for a performance of Mozart’s Exsultate Jubilate. Later this season, She will perform the role of Linda Porter in Red Hot and Cole in April. Ms. Bailey is a student of Abigail Nims.

ALICIA BAKER—Queen of the Night Described as a “scene stealer” by the Daily Camera, soprano Alicia Baker was born to perform. Baker’s credits include Adele in Die Fledermaus, Laurie in The Tender Land, Sister Constance in Dialogues of the Carmelites (Eklund Opera), Parisienne Minstrel in The Comedy of Errors (Colorado Shakespeare Festival), Fiordiligi in Così fan tutte (Astoria Music Festival) and Queen of the Night in Die Zauberflöte (PSOW). Baker received three BFA degrees in vocal performance, piano performance and choral music education from Oregon State University in 2009. She is also a world-renowned accordion player, having won many international competitions. Baker is currently pursuing an MM degree in vocal performance and pedagogy as a student of Jennifer Bird.

JACOB BAKER—Tamino This is Baker’s second production with Eklund Opera, after his debut as Alfredo in Die Fledermaus. Previously, Baker performed in the chorus with Wisconsin’s Florentine Opera Company for their 2015-16 season.

He graduated from UW-Milwaukee in 2015, where he received a BFA in vocal performance. He is currently pursuing his master’s degree in vocal performance as a student of Matthew Chellis.

KATHERYNE ANN BAKER—Second Lady Katheryne Baker, mezzo soprano, is making her debut with the Eklund Opera Company. She recently graduated with a BS in vocal performance from William Jewell College in Kansas City, Baker has performed as Zita in Puccini’s Gianni Schicchi as well as the title role in Menotti’s The Medium.

Katheryne is a recipient of the Denver Lyric Opera Guild Scholarship, the Charlotte Orr Reid Vocal Scholarship, and the Wilma and Perry Louis Cunningham Graduate Scholarship in Voice. Later this spring, Baker will be performing the roles of Elsa Maxwell and Ethel Merman in Eklund Opera’s production of Red Hot and Cole. Katheryne is pursuing her master of music in vocal performance and is studying under Abigail Nims.

BRYCE J. BARTU—First Armored Man The Magic Flute is Bartu’s first production with Eklund Opera. His previous credits include Ralphie Boland in Dogfight, Mal in The Addams Family, George in The Drowsy Chaperone (The STAGE Theater), Pat in 42nd Street (Pinewood Bowl Festival), Enoch in Carousel (Asheville Lyric Opera), Jim Casey in the Chicago premiere of The Grapes of Wrath, Lorenzo in Lucrezia, Alfredo in Die Fledermaus (Northwestern Opera Theater), Bill in A Hand of Bridge, Anthony in Sweeney Todd (Aspen Opera Festival), Carl Lindstrum in O! Pioneers, Tybalt in Roméo et Juliette, Giuseppe in The Light in the Piazza and Simon Stimson in Our Town (Nebraska Opera Theater). Bryce is currently pursuing his DMA as a student of Matthew Chellis.

JOSHUA DEVANE—Papageno DeVane returns for his fifth mainstage production at CU. Previously, he has portrayed the roles of Dandini in Rossini's La Cenerentola, the Marquis de la Force and Jailer in Poulenc's Dialogues of the Carmelites, Top in Copland's The Tender Land and Eisenstein in Strauss’ Die Fledermaus. Mr. DeVane's CU NOW credits include Mr. Potter and Mr. Gowers in Heggie's It's a Wonderful Life and David Smith in Redler's A Song for Susan Smith. He is in the final year of the Master of Music program and studies voice with Patrick Mason.

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CHAS DOUTHIT—Sarastro Douthit’s Eklund Opera credits include performing new opera scenes in the CU NOW summer program, Alidoro in La Cenerentola, Seneca in L’incoronazione di Poppea, and the Sergeant of Police in The Pirates of Penzance. Douthit also performed the role of Petrus in a collaborative production of Bach’s St. Matthew Passion (CU Choir, Boulder Philharmonic, Central City Opera). Last year Douthit graduated with highest honors from the University of Colorado Boulder with a choral BME as a student of Patrick Mason. He now teaches choir at Air Academy High School in Colorado Springs.

JESSE ENDERLE—Speaker, Second Armored Man This is Mr. Enderle’s second production with Eklund Opera after performing the role of Dr. Falke in last semester’s Die Fledermaus. Previous credits include the eponymous antagonist in Don Giovanni (Undercroft Opera 2016), Captain Watson in Carousel (Houston Grand Opera 2016), Count Almaviva in Figaro’s Wedding (Opera Theatre Pittsburgh 2015), Archbishop Aguiar y Seijas in the professional world premiere and recording of With Blood, With Ink (Fort Worth Opera 2014, recorded and released on Albany Records), Inspector Javert in Les Misérables (The Playhouse San Antonio 2013), as well as roles with opera companies in Milwaukee, Palm Beach, Tulsa, Central City and various music festivals in the United States and abroad. Mr. Enderle has twice been a District Winner of the Metropolitan Opera National Council Auditions and has been a finalist for the Lyric Opera of Chicago’s Ryan Opera Center. Mr. Enderle is a student of Patrick Mason.

JADE ESPINA—Third Boy Ms. Espina is a junior at CU Boulder. This is her third production with Eklund Opera. She performed the role of Sister Mathilde in Dialogues of the Carmelites in the spring of 2016 and sang in the chorus in Die Fledermaus in the fall. This April, she will be singing the role of Irene in Eklund Opera's production of Red Hot and Cole. Ms Espina is pursuing a dual degree in vocal performance and choral music education as a student of Jennifer Bird.

JULIETA GARCIA—Second Boy Ms. Garcia is currently in the second year of her undergraduate studies in voice performance at CU Boulder. She made her debut as La Suora Zelatrice in Suor Angelica and later performed in the chorus of La Mulata de Cordoba and Le nozze di Figaro, all produced by the Conservatorio de las Rosas in Morelia, Mexico, where she studied for four years. Previous credits also include her chorus participation in Eklund Opera’s recent production of Die Fledermaus. Ms. Garcia is a student of Patrick Mason and Jennifer Bird.

TAYLOR GRAHAM—Second Boy Ms. Graham is a third-year undergraduate at CU Boulder and this is her third production with Eklund Opera. She was part of the chorus in Dialogues of the Carmelites and Die Fledermaus. Ms. Graham is pursuing a degree in vocal performance. She is a student of Abigail Nims and Jennifer Bird.

NEILA MARIE WISNIEWSKI GETZ—Queen of the Night This is Getz’s fourth production with Eklund Opera. She most recently performed as Rosalinde in Eklund Opera’s production of Die Fledermaus.

She has also appeared as the New Prioress in Poulenc’s Dialogues of the Carmelites and as a spirited townsperson in Copland’s The Tender Land. A Montana native, Getz is enjoying her second year at CU Boulder pursuing a master’s degree in vocal performance. She received her bachelor of music in vocal performance from the University of Montana. Getz also premiered the role of Clara in Jake Heggie’s new opera It’s A Wonderful Life with CU NOW. Other notable credits include Fiordiligi in Così fan tutte (University of Montana), Rosalinde in Die Fledermaus (University of Montana) and Violetta (understudy) in Verdi’s La Traviata (Fidenza, Italy). Getz would like thank her mother, father and fairy godparents for all that they do. Getz is a student of Jennifer Bird.

NADYA HILL—First Lady This is Hill’s fifth production with Eklund Opera after appearing as Adele in Johann Strauss Jr.'s Die Fledermaus, Despina in Mozart’s Così fan tutte, covering Poppea in Monteverdi’s L’Incoronazione di Poppea and participating in the CU Boulder winter scenes program. Additional past roles include the Duchess of Plaza Toro in Gilbert and Sullivan’s The Gondoliers with the University of Michigan’s Gilbert and Sullivan Society and Second Lady in Mozart’s The Magic Flute with the University of Michigan’s Opera Theater.

Hill received two bachelor of music degrees in vocal performance and violin performance from the University of Michigan in 2011. She is currently pursuing a master’s degree in vocal performance as a student of Jennifer Bird.

MICHAEL HOFFMAN—Tamino Michael Hoffman, a native of Minnesota, is currently in his third year in the master’s program in vocal performance at CU Boulder following the completion of his BM degree in vocal performance at the University of Minnesota. Since moving to Colorado, Hoffman has appeared as Alfredo in

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MARY KETTLEWELL—Second Lady This is Kettlewell’s second production with Eklund Opera, having performed as Rosalinde in Johann Strauss II’s Die Fledermaus last fall. In the past she has performed as Susanna in Mozart's Le nozze di Figaro and Lauretta in Puccini's Gianni Schicchi (Show-Me Opera). Last summer, she performed the role of Adele in Die Fledermaus (Missouri Symphony Society) and attended Opera Neo in San Diego, California as a studio artist, where she will be returning again this summer. Last July, she won first place in the senior women's division of the national level of the National Association of Teachers of Singing vocal competition. She graduated from the University of Missouri-Columbia with a bachelor’s degree in music as well as psychology. She is currently pursuing a master's degree in vocal performance and is a student of Jennifer Bird.

EKATERINA KOTCHERGUINA—Pamina Ms. Kotcherguina is currently working on her performance certificate in opera and solo vocal performance at CU Boulder and is a member of Opera on Tap Colorado. This is her third production with Eklund Opera, where she has been seen as Blanche in Dialogues of the Carmelites and Clorinda in La Cenerentola. Other roles include Adina in L’elisir d’amore (Boulder Opera Company), Musetta in La bohème (Opera in the Rock), Sandrina in La finta giardiniera, the title role in Alcina and Micaela in Carmen (University of Oklahoma Opera Theatre). Last summer, she attended Music Academy of the West. Additionally, she has performed with the Boulder Bach Festival, Praeclara Opera, OperaWorks, Arkansas Shakespeare Theatre and the London Summer School of Voice. She is a student of Matthew Chellis.

SOPHIE LEDINGHAM—First Boy Ms. Ledingham is in her final semester of undergraduate studies at CU Boulder. She has been involved in several productions with Eklund Opera.

Some of her favorite moments include playing Isabel in Pirates of Penzance, singing in L’incoronazione di Poppea and playing Ida in Die Fledermaus. She was also fortunate to workshop Jake Heggie’s new opera, It’s a Wonderful Life, last summer at CU NOW. Her future plans include European travels and lots of Streusel. She is a student of Jennifer Bird.

CLAIRE McCAHAN—Third Lady This is McCahan’s second production with Eklund Opera. She has previously been seen at CU as Prince Orlofsky in Die Fledermaus. Additional past roles include Romeo in scenes from I Capuleti e i Montecchi (Eklund Opera Scenes), Cousin Hebe in H.M.S. Pinafore and La Maestra delle Novizie in Suor Angelica (Intermountain Opera) and Antonia in Man of La Mancha (Montana Shakespeare in the Parks). She received her bachelor’s degree in vocal performance from the University of New Hampshire, where her performance credits there include Pamina in The Magic Flute and Der Trommler in Der Kaiser von Atlantis. She is currently pursuing a master’s degree in vocal performance as a student of Abigail Nims.

SKYLER SCHLENKER—Papageno A former football player from Ithaca College, Schlenker’s performance credits span a wide repertoire. As an undergraduate at CU Boulder, Schlenker performed the role of Top in The Tender Land, Perchik in Fiddler on the Roof, Frank in Die Fledermaus and Seneca in Monteverdi’s L’Incoronazione di Poppea, and he covered The Pirate King in The Pirates of Penzance.

Schlenker was a winner in the Anderson voice competition for undergraduate singers at CU Boulder. This summer Schlenker will represent CU Boulder at the Aspen Music Festival as a studio artist in the Aspen Opera Center. This spring is Schlenker’s first semester as a master’s student. Schlenker has spent the last two summers at the Eastman School of Music in the program “Si Parla, Si Canta,” directed by Benton Hess, where he studied the Italian language and Italian opera. Schlenker is a student of Patrick Mason.

PAIGE SENTIANIN—Papagena, Pamina (cover) This is Sentianin’s debut performance with Eklund Opera. Previous credits include The Pirates of Penzance (Mabel), L’elisir d’amore (Giannetta), The Old Maid and the Thief (Miss Pinkerton), Cendrillon (Maguelonne), and John Cage’s Europera 5 (Singer 1). Opera scene credits include Le nozze di Figaro (Susanna), Hamlet (Ophelie), and Carmen (Frasquita). Sentianin is currently in her first year as a master’s degree candidate in vocal performance and pedagogy and is a student of Matthew Chellis.

EMMA VAWTER—Third Lady This is Ms. Vawter’s final performance with Eklund Opera as a master’s candidate in voice performance. Previous Eklund Opera credits include Dialogues of the Carmelites (Sister Mathilde), Die Fledermaus (Chorus) and opera scenes from Beatrice et Benedict (Beatrice), Hamlet (Gertrude), Giulio Cesare (Cornelia) and Emmeline (Emmeline). Other favorite roles include Mercedes from Carmen, Zulma from L’italiana in Algeri and Jennie from Down in the Valley. Vawter premiered the role of Hima in Chappell Kingsland’s new opera Firebringers with Boulder Opera this spring and will cover Pepa in Goyescas in April. A recipient of the George Lynn Award, she will sing the world premiere of his Walt Whitman Songs on her recital in April. Vawter also sings professionally as a soloist with the ensemble Ars Nova Singers. She is a student of Abigail Nims.

CAROLINE VICKSTROM—Third Boy Ms. Vickstrom is in her last semester as an undergraduate at CU Boulder, having performed with Eklund Opera for the past four years. She has appeared as Mrs. Jenks in The Tender Land, as Isabel in The Pirates of Penzance, as Dottie in Side by Side by Sondheim and as part of the chorus in Die Fledermaus, Dialogues of the Carmelites and La Bohème. This April, she will perform in the production Red Hot and Cole for her eighth Eklund Opera performance. Ms. Vickstrom is pursuing a dual degree in vocal performance and choral music education. She is a student of Abigail Nims.

ANNA WHITEWAY—Pamina Ms. Whiteway is a first year master's student studying vocal performance and pedagogy. She is originally from La Crosse, Wisconsin, and recently completed her BM degree at the University of Wisconsin-Madison. In Madison, she sang four principal roles with the UW University Opera, including Mozartian heroines Susanna in Le Nozze di Figaro and Pamina in The Magic Flute. This past summer Ms. Whiteway worked as a Studio Artist with the Central City Opera, where she sang in the chorus of Tosca and The Ballad of Baby Doe, and was also featured in John Musto's Later the Same Evening as the boisterously Italian Valentina. This is Ms. Whiteway’s first production with Eklund Opera. She is a student of Jennifer Bird.

SOPHIE ZERVAS—First Boy, Papagena (cover) Ms. Zervas is a second-year undergraduate pursuing a double BM degree in vocal and piano performance. She recently appeared in the chorus of Die Fledermaus in the fall, and this is her debut role with the Eklund Opera. She is a student of Abigail Nims and David Korevaar.

Technical and Production Staff Peter Dean Beck, Set and Lighting Designer Peter has designed scenery and lighting for Eklund Opera for 23 seasons and for more than 300 productions around North America. Among his opera credits are Falstaff, Turandot, Manon, Don Giovanni, Madama Butterfly, Hansel and Gretel, A Midsummer Night's Dream and Roméo et Juliétte for such companies as Atlanta Opera, Florida Grand Opera, Glimmerglass Opera, Virginia Opera and Chautauqua Opera. He has designed productions of Andrea Chenier, The Italian Girl in Algiers, Macbeth, Elektra and Tristan and Isolde for Hawaii Opera Theatre, where he has been principal designer for 31 seasons. In Asia, he designed a double bill of The Nightingale and Cavalleria Rusticana for Sakai City Opera in Japan and lit Cav/Pag in Macau and Don Carlo in Hong Kong.

His musical theater credits include Fiddler on the Roof, The Sound of Music, The Music Man, Les Misérables, The Wizard of Oz and Into the Woods for Skylight Music Theatre. His work for dance includes The Indigo Girls Project for Atlanta Ballet and The Nutcracker for Ballet Hawaii.

Nicholas Carthy, Music Director/Conductor Nicholas Carthy, now in his 11th season with Eklund Opera, studied at the Mozarteum in Salzburg, Austria, and made his conducting debut there at the Landestheater in Le Nozze di Figaro. He served as musical assistant to Bernard Haitink and Sir Georg Solti at the Salzburg Festival and to Daniel Barenboim in Paris, Chicago and Bayreuth. Carthy has conducted opera productions in Vienna, Salzburg, Oslo, Stockholm, Winterthur, Milan, Rome, Naples, Bonn, Eugene and Tel Aviv. He has conducted orchestras including the Colorado Symphony Orchestra, Nordwestdeutsche Philharmonie, Orchestra RAI di Torino, Orchestra San Carlo di Napoli and the Accademia Filarmonica Roma.

As a collaborative pianist, he has performed in many of the world’s great halls, including Carnegie Hall, Suntory Hall, Wigmore Hall, the Bolshoi Theatre and the Musikverein Vienna. He is music director of the Helgeland Sinfonietta in Norway and performs chamber music every summer with his wife and extended family in Reno, Nevada and Susanville, California.

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EKLUND OPERA PROGRAM—The Magic Flute, March 17-19, 2017

Eklund Opera’s Fall 2016 production of Strauss’s Die Fledermaus, Ferrando in Eklund Opera’s 2015 production of Mozart’s Così fan tutte; Spoletta in the Colorado Symphony’s production of Puccini’s Tosca; Jacey Squires in the Colorado Symphony’s production of Willson’s The Music Man; and Martin in Copland’s The Tender Land with the Eklund Opera Program. Most recently, Hoffman performed Schubert’s Auf dem Strom in Carnegie Hall’s Weill Concert Hall as a representative of CU Boulder. Hoffman is a student of Patrick Mason and Matthew Chellis.

EKLUND OPERA PROGRAM—The Magic Flute, March 17-19, 2017

Chris Tran, Assistant Conductor Chris Tran is in his final year as a master’s student in orchestral conducting at the University of Colorado Boulder, studying under Gary Lewis. He also studies opera conducting with Nicholas Carthy and violin with Charles Wetherbee. This is Mr. Tran’s third production with Eklund Opera as assistant conductor, previously serving in the same role for Johann Strauss II’s Die Fledermaus and Aaron Copland’s The Tender Land. He serves as Cover Conductor for the Boulder Philharmonic, Co-Music Director of the CU Boulder Campus Orchestra and Assistant Conductor and Teaching Assistant for both the CU Boulder University Symphony Orchestra and Eklund Opera.

Prior to arriving in Boulder, Mr. Tran earned a bachelor’s degree in music education from Southern Methodist University, where he studied orchestral conducting with Paul Phillips and violin with Diane Kitzman and CheeYun Kim. He also has participated in master classes with conductors Neil Thomson, Donald Schleicher and Neil Varon.

Jeff Dixon, Chorus Master This is Dixon’s second production with Eklund Opera. As a member of the Opera Colorado Chorus, Jeff sang in the choruses of Florencia en el Amazonas, Il Trovatore, Roméo et Juliette, and most recently in the world premiere of Lori Laitman’s The Scarlet Letter. Previous shows include Tosca and La Traviata with Opera Fort Collins, and Der Freischütz, Manon, Cavalleria Rusticana and I Pagliacci with the German-based touring opera company Opera Classica Europa. With the same company, Dixon made his debut as chorus master with his preparation of the choruses for Verdi’s Otello, with a performance at the Château de Buc in Versailles, France. This past summer he was on the production staff of the Aspen Opera Center. Dixon received his Bachelor of Music Education from the University of Northern Colorado in 2011 and is currently in the final semester of his master’s degree in choral conducting under the direction of Dr. Greg Gentry and Dr. Andrea Ramsey.

Margaret Kayes, Stage Manager.

This is Ms. Kayes’ first production with Eklund Opera. Her credits include L’incoronazione di Poppea and The Turn of the Screw (New England Conservatory); La Grande Duchesse de Gérolstein, Tancredi, The Bartered Bride, The Nose and Der Freischütz (Opera Boston); The Mole Hill Stories (First Stage Children’s Theatre); The Wild Party, Boeing Boeing, The Valley of the Heart, The 39 Steps, RFK and The Addams Family (San Jose Stage Company); Sweeney Todd and One Man, Two Guvnors (Lyric Stage Company of Boston); Twelfth Night, Coriolanus and Othello (Commonwealth Shakespeare Company); and The Secret Garden, The Unbleached American, Something’s Afoot, Miracle on 34th Street, The Marvelous Wonderettes, These Shining Lives, Thoroughly Modern Millie, It’s a Wonderful Life and The Full Monty (Stoneham Theatre).

Herschel Garfein, Stage Director Herschel Garfein is active as a composer, writer and stage director. He is the composer/librettist of the opera Rosencrantz & Guildenstern Are Dead, based on the Tom Stoppard play, which has been seen in workshop at Eklund Opera’s CU NOW Festival and will receive its piano-vocal staged premiere this summer at the Seagle Music Colony in the Adirondacks. His song-cycle Mortality Mansions, a collaboration with the great American poet Donald Hall, will premiere later this month at the Heyman Center for the Humanities at Columbia University.

Previously, he wrote and directed the jazz theater piece My Coma Dreams for composer/pianist Fred Hersch, available on Palmetto DVD. Garfein recently won his second GRAMMY® Award as producer of a jazz recording by the Ted Nash Big Band, Presidential Suite: eight variations on freedom. His previous GRAMMY® was the 2012 Award for Best Contemporary Classical

Composition for his “wildly operatic libretto” (BBC Magazine) for Robert Aldridge’s Elmer Gantry (Naxos). His songs and other works are available on Naxos, Roven Records and GPR labels. Mr. Garfein lives in Brooklyn, NY with his wife Vicki Bernstein and their 14-year-old twins, Hadi and Lev. He teaches music composition and script analysis in the in the Steinhardt School's program in Vocal Performance at New York University, where in 2013 he was honored to receive the Teaching Excellence Award.

Chris Martin, Production Assistant Chris Martin has worked with Eklund Opera for five seasons. Mr. Martin is also the production manager for the Boulder Philharmonic Orchestra. Mr. Martin has worked for the American Symphony Orchestra, Brooklyn Philharmonic (under Robert Spano) and the Metropolitan Opera and produced concerts at Carnegie Hall, Lincoln Center and the Kennedy Center. Previously, Mr. Martin was a percussion instructor at North Georgia College and State University and Piedmont College.

Ron Mueller, Technical Director Ron Mueller has been with Eklund Opera for 18 seasons. His past Eklund Opera productions include The Rake’s Progress, La Traviata, West Side Story and Dead Man Walking. His other professional credits include Skylight Opera, Boulder Ensemble Theatre Company, Crested Butte Music Festival, Colorado Shakespeare Festival and Boulder Dinner Theatre.

Jeremy Reger, Vocal Coach International Pianist and Educator Jeremy Reger maintains an active performing and coaching career. He has served on the music staff of Virginia Opera, Eugene Opera, Hawaii Opera Theater, Mill City Opera, Minnesota Opera, Skylark Opera and Aspen Opera Theater. He recently joined the faculty of CU Boulder as a vocal coach. Prior to that position, he taught at the Music Academy of the West, at Christopher Newport University in Recife, Brazil, and at Indiana University. He has played in the Virginia Symphony, the Williamsburg Symphonia, the Carmel Symphony and the Terre Haute Symphony. Reger has a PhD in collaborative piano from the University of Michigan under Martin Katz.

Tom Robbins, Costume Designer Tom Robbins has been with Eklund Opera for 24 seasons. His past Eklund Opera credits include Don Giovanni, Anything Goes, Susannah, Carousel and The Rake’s Progress. His other professional credits include Bonfils Theater, Opera Colorado and Colorado Ballet.

Malcolm Ulbrick, Assistant Director Baritone Malcolm Ulbrick received his master's in music from CU in May 2014, where he studied with Patrick Mason and performed such roles as Billy Bigelow in Carousel, Olin Blitch in Sussanah, Figaro in Le Nozze di Figaro, Nick Shadow in The Rake’s Progress, Gideon March in Little Women and Marcello in La Bohème. He made his directorial debut with Boulder Opera Company for their 2015 children’s production of Rossini’s Il Barbiere di Siviglia, and in April 2016 he made his performance debut with BOC as the title role in Mozart’s Don Giovanni. Recent engagements last summer included Riolobo in Florencia en el Amazonas with Emerald City Opera Company and Harry in a workshop production of Jake Heggie’s new opera It’s a Wonderful Life with CU New Opera Workshop. He is a member of Central City Opera's education outreach ensemble and this May will be featured as the bass soloist in Beethoven's Symphony No. 9 with the Boulder Chamber Orchestra and Boulder Chorale. Malcolm creates and operates the supertitles for Eklund Opera productions as well and is thankful to have this opportunity to work with and learn from Mr. Garfein. He lives in Denver with his wife, Carmel, and their three dogs, and they are expecting their first child in April.

CU Presents offers the best in performing arts on the University of Colorado Boulder campus:

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When you have that newlywed glow, everything seems rosy.

So when Jean Richter started feeling short of breath, she wasn’t initially concerned. But then her symptoms worsened and her beloved husband, Dave, had to rush her to the Foothills Hospital Emergency Department.

Jean was diagnosed with heart failure, a chronic condition that has a 50% survival rate within five years of diagnosis if not treated correctly. Luckily for Jean, Boulder Community Health recently opened the first specialized Heart Failure Clinic in Boulder County. Dr. Scott Blois’s expertise with the latest treatment options set Jean on a remarkable journey back to a full active life.

“I have a wonderful husband, five incredible daughters and 13 grandkids I adore,” says Jean. “I’m so happy we can hike, travel and have fun together again.”

Read Jean’s story at bch.org/healinghearts or call 303-442-2395 for information about Boulder County’s first Heart Failure Clinic.

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19

A mutual admiration society Aspiring artists, remember this: A well-rounded education never hurt anyone.

That’s what Bud Coleman learned when he tore his hamstring muscle after a stint with the prestigious Ballets Trockadero de Monte Carlo.

If dance had been the only skill on his resume, it could have been a career-ending disaster. Luckily, the theatre arts graduate had a lot more knowledge up his sleeve.

“Through a series of introductions, I was hired into the wardrobe department of New York City Opera,” he says.

It was the perfect place for a theatre man; in keeping with its mandate to be the “people’s opera,” NYCO had just expanded its repertoire to include musical theatre.

Coleman, who today serves as chair of Theatre & Dance at CU Boulder, can dance, sing, act, direct, perform in drag and think outside the box on command. So it’s no wonder that he and the Eklund Opera Program have reached across the aisle for countless collaborations.

These days, Coleman is grateful for his crossover training: It means he can work with all kinds of artists, from theatre students to dancers to Colorado Shakespeare Festival directors to singers involved in CU’s New Opera Workshop Composer Fellows’ Initiative, which Coleman staged and directed in 2015.

Mueller lauds Coleman’s work with CU NOW and emphasizes just how much effort, creativity and vision it must have taken to direct the project.

“He had to do all the legwork to come up with concepts and designs and build the characters,” he says. “These pieces didn’t exist before he put them on their feet, so he couldn’t just Google what someone else did—there’s no cheating.

“On top of all that,” Mueller adds, “He’s just the nicest man you could ever know.”

Red Hot and Cole: April 27-30, Music Theatre | tickets start at $20

Over the last few years, Coleman has danced a mean high-heeled tango in “Die Fledermaus”; he’s directed stagings of student opera scenes for the Composer Fellows’ Initiative; and he’s even set to direct Eklund Opera’s “Red Hot and Cole,” a salute to Cole Porter, this spring.

“Having him as a resource just down the street in Theatre & Dance not only to take on a role but to dive into a production headfirst is a plus for the opera program,” says Ron Mueller, interim director of Eklund Opera. “He leads by example for the students, putting his all into every production.”

Coleman says he learned to be a Renaissance man out of necessity. In the late 20th century, Broadway directors began to demand that auditionees for new musicals such as “Song and Dance,” “The Phantom of the Opera” and “South Pacific” come with experience in acting, singing and dancing.

“In many ways, Jerome Robbins, Leonard Bernstein, Stephen Sondheim and Arthur Laurents changed the landscape in 1957 with ‘West Side Story,’ where there were no separate dance or singing ensembles,” Coleman says. “Everyone had to do everything; you had to be a triple-threat performer.”

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Bud Coleman as Frosch in 'Die Fledermaus'

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21

CU NOW: Leading a new wave of opera This summer, Eklund Opera’s trailblazing new works program—CU New Opera Workshop, or CU NOW— pulls out all the proverbial stops in its latest quest to bring what’s fresh and exciting about opera to the campus of CU Boulder.

Since CU NOW’s founding in 2010, the likes of Opera Colorado’s Lori Laitman, composer Libby Larsen and titans Jake Heggie and Gene Scheer have called this three-week workshop home.

This year is no different. Continuing the momentum of 2016’s workshopping of Heggie and Scheer’s “It’s a Wonderful Life,” CU NOW 2017 will host composer Mark Adamo and a revision of his opera “The Gospel of Mary Magdalene,” which already had its premiere in San Francisco.

“CU NOW allows the composer to not just workshop a new piece but also rework it,” says Jeremy Reger, music director. “Because Mark has such strong feelings for this piece, he’s reworking it using CU NOW as his forum.”

Ron Mueller, Eklund Opera technical director and interim program director as Leigh Holman takes a sabbatical, says CU NOW’s mission has always been to expose students and audiences to the cutting edge of an artform so defined by its history.

“We also want to create an avenue to give composers a place to try out works in progress. Our slogan from the

first year was, ‘Bringing opera from score to floor.’”

The other arm of CU NOW, the Composer Fellows’ Initiative, ventures into new territory for 2017 as well.

CFI connects composition students with singers and opera professionals to perfect scenes they’ve written.

New for this year, CFI partners with the CU Film Studies department to develop film footage to accompany the scenes.

“Projection use in opera production is a brand new field that is enjoying lots of innovation and experimentation,” says Daniel Kellogg, associate professor of composition.

“We’re all excited to see what [these filmmakers] come up with.”

Exploration and innovation don’t just define CU NOW. They’re ideas that run through the fabric of Eklund Opera.

Says Reger, “Many colleges and opera companies are just jumping on this exciting bandwagon of new opera, but [Eklund Opera director] Leigh Holman’s insight into this progressive movement established Boulder as an exciting forefront for new opera.”

The Gospel of Mary Magdalene: June 16 & 18, Music Theatre | free Composer Fellows’ Initiative Showcase: June 17, ATLAS Black Box Theater | free

22

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Artist Series 80th Anniversary

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 world-class 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.

Gil Berman Rudy Betancourt Joan McLean Braun Shirley Carnahan

John Davis Diane Dunn Mike Gallucci

Benefactor

Mark and Margaret Carson Diane and Richard Dunn Paul Bechtner Foundation Greg Silvus

Sponsor

Gil and Nancy Berman Mary Lamy Louise Pearson and Grant Couch Ellen and Joshua Taxman

Patron

Anonymous Janet Ackermann and Scott Wiesner Joan McLean Braun Chris and Barbara Christoffersen Daryl and Kay James Ruth Carmel Kahn Janet and Scott Martin John and Maggie McKune Antoinette and Douglas Shaller Daniel and Boyce Sher

Artist Series Advisory Board Lissy Garrison Laima Haley Daryl James, President

Maryan K. Jaross Ruth Kahn Jerry Orten

Martha Coffin Evans and Robert Trembly II Carol and Michael Gallucci Harold and Joan Leinbach Eric Lewis and Karmen Rossi Heidi and Jerry Lynch Robert and Sandra McCalmon Judy and Alan Megibow Tiffany Myers and J. M. Steffan Knapp Jerry and Jamie Orten Patricia and Brian Ratner Cedric Reverand Mikhy and Michael Ritter Theodore and Ruth Smith Douglas and Avlona Taylor Evelyn Taylor Lawrence and Ann Brennan Thomas

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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 Norma Johnson in memory of Fay Shwayder Gary and Judith Judd in memory of Fay Shwayder Takács String Quartet

Sponsor

P.J. Decker and B.A. Saperstein Carol Lena Kovner David and Janet Robertson Marion Thurnauer and Alexander Trifunac

Patron

Thomas and Carol Cech Chris and Barbara Christoffersen Lauren Frear John and Carson Taylor

Supporter

Virginia Boucher William and Alice Bradley Christopher and Margot Brauchli Patricia Butler Carolyn and Don Etter Richard Jessor and Jane Menken Robert R. Kehoe Walter and Eileen Kintsch Ray and Margot LaPanse Paul and Nancy Levitt Patricia and Robert Lisensky Maxine Mark Lise Menn Virginia Newton Neil and Martha Palmer Mikhy and Michael Ritter David and Susan Seitz Kathleen Sullivan Lawrence and Ann Brennan Thomas

Contributor

Lois Abbott Alison Craig and Stephen Trainor Doree and Jerry Hickman Patricia L. Johnson Harold and Joan Leinbach M. L. Sandos Bob and Lori Schuyler Helen Stone Anthony and Randi Stroh Patricia Thompson Laurie and Arthur Travers

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Anonymous Christine Arden and David Newman Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Ingrid Becher Kevin and Diana Bunnell Shirley Carnahan Penny Chenery Noel A. and Pauline A. Clark Charlotte Corbridge Richard and JoAnn Crandall Barbara and Carl Diehl Jean and Bob Fischer Lloyd and Mary Gelman Ken and Dianne Hackett Catharine and Richard E. Harris John and Ruthanne Hibbs Elizabeth and Jonathan Hinebauch William Hoffman Ruth and Richard Irvin Bruce and Kyongguen Johnson Jennifer and Bob Kamper Caryl and David Kassoy Mireille Key Alice and Judah Levine Albert and Virginia Lundell Heidi and Jerry Lynch

Gail and Thomas Madden Caroline E. Malde John and Nancy Malville Ralph and Nancy Mann J. Richard and Marjorie McIntosh Peter and Doris McManamon Josef and Sara Michl Christopher B. Mueller and Martha A. Whittaker Joan and Ronald Nordgren Margaret Oakes Faith and Roy Peterson Julie and Wayne Phillips Antonia and Timothy Piwonka-Corle Richard Replin and Elissa Stein Joanna and Mark Rosenblum Becky Roser and Ron Stewart JoAn Segal Ruth Shanberge Todd and Gretchen Sliker Grietje Sloan Carol and Art Smoot Berkley A. Tague Betty Van Zandt Chris and Leanne Walther Anthony White James and Nurit Wolf Bill Wood Michael Yanowitch

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 Advancement Office at 303-735-6070.

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Friends of 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 Advancement Office at 303-735-6070.

Benefactor

Contributor

Anonymous David Allen and Carol DeBaca Paul Eklund Robert Stuart Graham Robert Martin The Academy Charitable Foundation, Inc.

Sponsor

Alan and Martha Stormo

Patron

Chris and Barbara Christoffersen Jack Finlaw and Gregory Movesian Lloyd and Mary Gelman Albert and Betsy Hand Gordon and Mitzi Ledingham Krista Marks and Brent Milne Antoinette and Douglas Shaller Ken and Ruth Wright in memory of Mayme Lacy

Supporter

Anonymous Norman and Vivian Belmonte Stephen Dilts Martha Coffin Evans and Robert Trembly John Hedderich Bob and Mikee Kapelke Mikhy and Mike Ritter Bob and Lori Schuyler Lawrence and Ann Brennan Thomas

Jim and Judy Bowers Ellen and John Gille Susan Graber Harold and Joan Leinbach Heidi and Jerry Lynch Claudia Boettcher Merthan Dennis Peterson Dave and Ann Phillips Gail Promboin and Robert Burnham R. Alan and Stephanie Rudy M. L. Sandos Cynthia and Paul Schauer Carol and Randall Shinn Theodore and Ruth Smith Helen Stone Peter Wall

Grants

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

Member

Anonymous Judith Auer and George Lawrence Jeanie Davis Walter Duncan Donald and Beverly Eklund Joseph and Beverly Elinoff Alexander R. George and Yi-Ting Hsu Janet Hanley Norman Clark Lane Kenneth L. Levinson and Shauna Titus Levinson Patricia and Robert Lisensky Bruce Mackenzie Michael Magan Marian Matheson Byron and Catharine McCalmon Donna Meckley Kathleen and John Ness Margaret Oakes Robert and Marilyn Peltzer Kim and Richard Plumridge Juan and Alicia Rodriguez Ruth Shanberge Becky Roser and Ron Stewart Ruth Schoening JoAnn Silverstein and Nevis Cook Carol and Art Smoot Walter Taylor Gretchen Vanderwerf and Gordon Jones

About the Eklund Opera Program

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.

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

32

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Personnel

Staff

Joan McLean Braun, Executive Director Laima Haley, Marketing and P.R. Director Jessie Bauters, Assistant Director of Communications and Web Administrator Daniel Leonard, Marketing Manager Jill Kimball, Public Relations Manager Morgan Gallo, Social Content Creator Maureen Bailey, Communications Assistant Analise Iwanski, Graphic Design Assistant Emma Salvati and Jackson Xia, Video Producers Emily K. Harrison, Publications Specialist Heather MacDonald, Distributions Coordinator Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Manager Box Office Assistants: Elise Campbell, Taralynn Dorr, Adrienne Havelka, Megan Quilliam, Chris Ruiz, Karen Van Acker Kevin Harbison, Recording Engineer Michael Johnston, Financial Manager Jeni Webster, Membership Benefits Coordinator

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 Program Editor: Jill Kimball Program Layout: Emily K. Harrison

College of Music Dean's Cabinet

Robert Shay, Dean James Austin, Associate Dean for Enrollment Management and Undergraduate Studies Joan McLean Braun, Assistant Dean for Concerts and Strategic Communications Steven Bruns, Associate Dean for Graduate Studies John Davis, Associate Dean for Faculty Affairs and Operations Lissy Garrison, Assistant Dean for Advancement Alexander George, Executive Assistant to the Dean

David Mallett, Senior Director of Budget and Finance

College of Music Advisory Board Mikhy Ritter, Chair Sue Baer Jim Bailey 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

Patron Info Accessibility and Parking

Photography and video recordings Macky Auditorium is fully wheelchair of any type are strictly prohibited accessible; ADA-accessible parking during the performance. is available nearby. Please call the Box Office as early as possible to Food is permitted in the seating areas of Macky Auditorium but is make arrangements. prohibited in other campus venues Paid parking is available in the Euclid unless otherwise noted.

Avenue Autopark Lot 310 and Lot 204. Contact the Box Office or check Smoking is not permitted anywhere. the CU Presents website for more CU Boulder is a smoke-free campus! information.

Daryl James Maria Johnson Caryl Kassoy Robert Korenblat Kathy Kuscan Erma Mantey Ben Nelson Joe Negler Susan Olenwine Tom Price Becky Roser Firuzeh Saidi Jeannie Thompson Jack Walker

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

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.

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.

Please note that the Euclid Autopark will be closed through March due to construction.

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| Get Soci@cupresents | cupresents.org | 303-492-8008 |

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