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music

experience the

2013–2014 Season Global performance. World-class entertainment. You have to be here.


BOULDER BALLET & the BOULDER PHILHARMONIC ORCHESTRA present

A whimsical delight for the entire family!

November 29 through December 1 Macky Auditorium, CU campus

Get your tickets today! Box Office: 303.449.1343 or online: boulderballet.org Melissa Heslep. Photo by Sue Daniels

Don’t miss Aaron Copland’s A P P A L A C H I A N S P R I N G November 2 at 7:30 PM!

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From the Executive Director

Table of Contents

CU Presents Staff

6

CU Presents Ticket Policy

6

Theatre/Dance Season

8

Program

P 1-4

Faculty Tuesdays

22

Artist Series Donors

24

Takács Quartet Donors

26

CU Opera Donors

28

Upcoming AS Presentations

30

CU Opera

32

CU Presents Season

34

College of Music Advisory Board

Welcome to the 2013-2014 season of CU Presents. As always we have a diverse lineup of world-class entertainment, including the world-renowned guests of the Artist Series, the return of the beloved opera La Bohème, stunning symphonic works, masterful chamber music performances, intriguing theater and dance productions and more. This year also marks the exciting debut of our new, unified ticketing system for the performing arts at CU Boulder, which brings together the Artist Series, Colorado Shakespeare Festival, Takács Quartet, Holiday Festival, CU Opera, College of Music and Theatre & Dance productions under the auspices of CU Presents. Lovers of the performing arts now have an easyto-use, one-stop way to discover all these inspiring programs and order tickets. The box office, located just inside the west entrance of the University Club building at the intersection of Euclid Avenue and Broadway on the CU-Boulder campus, is open from 10 a.m. to 5 p.m. Monday through Friday. Metered parking is available on the street or in the Euclid Avenue Autopark. You may also purchase tickets by calling 303-493-8008 or online at cupresents.org. If you have questions, please don’t hesitate to ask or send us an email at cupresents@colorado.edu. Our goal at CU Presents is to share the joy of diverse, thought-provoking, entertaining and outstanding experiences with the CU, Boulder and broader Colorado communities. We want to thank you for helping us make this possible and invite you to join us for many memorable experiences throughout the coming year. CU Presents: Global performance. World-class entertainment. You have to be here. Warm regards,

Joan McLean Braun Executive Director

James Austin, Interim Dean Christopher Brauchli Robert F. Bunting Jan Burton Coleen Conant Martha Coffin Evans Tyler M. Forman Jonathan R. Fox David W. Fulker Grace Gamm Lissy Garrison Lloyd Gelman Doree D. Hickman Suzanne A. Hoover David G. Hummer Daryl K. James Gary S. Joiner Caryl F. Kassoy Robert Korenblat Thurston E. Manning Erma M. Mantey Joseph T. Negler Susan J. Olenwine Michele Ritter Rebecca J. Roser Steven K. Taniguchi Jeannie Thompson Jack Walker ADVERTISING INFORMATION This program is produced for CU Presents by The Publishing House, a division of Colorado Word Works, Inc. Angie Flachman Johnson, Publisher Annette Allen, Art Director and Production Coordinator Stacey Krull, Graphic Design & Layout Wilbur E. Flachman, President For advertising information, call 303-428-9529 7380 Lowell Blvd., Westminster, CO 80030 www.coloradoartspubs.com


Everyone has a voice. Shouldn’t yours be heard? Don’t take your voice for granted. A weak, breathy, hoarse, scratchy, strained, or graveled voice often indicates a problem. Hoarseness lasting longer than a few weeks probably isn’t “laryngitis.” Dr. J. Michael King treats the full spectrum of ear, nose, and throat disorders. He is an otolaryngologist and a fellowship-trained laryngologist (voice specialist) providing care to singers, performers, and professional speakers. As one of only a few specialists in the Western region who performs minimally invasive office procedures, balloon sinuplasty, and laser surgery, Dr. King is always willing to take the time to explain options to help you decide what treatment is right for you.

J. Michael King, MD Services and treatments include• Minimally invasive office procedures of the throat and sinuses • Laser surgery of the vocal cords • Treatments for pre-cancerous lesions or early throat cancers • Microsurgery for vocal cord polyps or cysts • Botox injections for spasmodic dysphonia • Voice restoration for vocal cord paralysis • Esophagoscopy and evaluation for reflux Offices in Broomfield & Golden 403 Summit Blvd., Suite 204 1030 Johnson Road, Suite 350 Broomfield, CO 80021 Golden, CO 80401

Conveniently located in Broomfield & Golden • 720-401-2139 • PeakENTandVoiceCenter.com


| www.cupresents.org

17 th St.

N

18

University Ave.

th St .

MACKY

Lot 380

Pleasant St. University Theatre Hellems Arts and Science

Education

MACKY AUDITORIUM STAFF Rudy Betancourt, Director Angela Venturo, Associate Director J. P. Osnes, Technical Director Rojana Savoye, House Manager Chelsea Ayers, Assistant House Manager

Event Lot

bike path

Joan McLean Braun, Executive Director Clay Evans, Public Relations Director Laima Haley, Marketing Director Myra Jackson, Programs and Scheduling Manager Nick Vocatura, Operations Director Daniel C. Leonard, Marketing and Public Relations Coordinator Karen Schuster, Graphic Designer Courtney Pomeroy, Public Relations Assistant Emily Scraggs, Public Relations Assistant Stephanie Doctor, Programs and Scheduling Assistant Andrew Metzroth, Box Office Manager Katrina DeVore, Box Office Services Coordinator Sydney Bogatz, Ciara Glasheen-Artem, Starla Doyal, Christine Herwig, Lucas Munce, Harper Nelson, Kayla Pinney, Melanie Shaffer, Box Office Assistants Kevin Harbison, Recording Engineer Nancy Quintanilla, Accounting Technician Ted Mulcahey, Piano Technician

University Theatre Loft Theatre Acting Studio Irey York Theatre

Colorado Avenue

ATLAS

UMC

Mary Rippon Theatre

Euclid Avenue Autopark

Imig Music Building

Lot

Euclid

2 0 4

UNIVERSITY CLUB (Box Office)

Br

oa

dw

18th St.

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Grusin Music Hall Chamber Hall Music Theatre

Lot 310

Program Book Editor/Designer: Myra Jackson • Cover Design: Karen Schuster PATRON INFORMATION

• The venues of CU Presents are fully accessible to patrons in wheelchairs and to those with other special needs and for their companions. Patrons needing accommodations for a disability should call the box office as early as possible at 303-492-8008.

Macky Auditorium (2000 Music Theatre

• Parking is available in the Euclid Avenue Autopark, Lot 310, and Lot 204 at a cost of $4 per evening or weekend day. Lot 380 (near Macky) is reserved for VIP members of the Artist Series. Drop-off and handicap parking is available near all venues.

Center

Right Row L

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• Food and beverages are prohibited in the seating areas of all theaters. • Photographic and recording devices are prohibited.

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Mary MARY Rippon RIPPON OUTDOOR THEATRE Outdoor Theatre STAGE (1000 seats)

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Dress Circle Orchestra Upper Circle

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Dress Circle Orchestra Upper Circle

University University Theatre Stage Theatre

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| | | |4 W | W 1 | | | | | | | | | | | 6| 5| 4 | | | 3| 2 | | |1 | | | | | | | | | | | | | | | |6 | 5| 4 | | | | 3| 2 | | | | | | | | |1 | | | | | | | | | | 6| 5 | | | | 4| 3 | | | 2| 1 | | | | | | | | | | | | | | | | | 6| 5 | | | 4| 3 | | | 2| | | | | | | | | | | | | | | | 1 | | 6| 5 | | | 4| 3 | | | | | | | | | | | | | 2| | | | |6 1 | | | |5 4 | | | 3| | | | | | | | | | | | 2 | |6 | | | |1 | | |5 4 | | | | | | | | | | | | 3| | | | 2 | | | |1 | | |5 4 | | | 3| | | | | | | | | | 2 | | | | | |1 | | |5 | | 4 | 3| | | 2 |1 | 10

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• The University of Colorado Boulder is a smoke-free campus.

Music Theatre (250 seats)

Grusin Music Hall (500 seats)

7

• Can’t use your tickets? Turn your tickets back to the CU Presents Box Office as a tax deductible contribution prior to the beginning of the performance.

Row A

Left

16

• Patrons are encouraged to call CU Presents at 303-492-8008 for information on the suitability of events for children.

Row A

Center Stage

• All programs, artists, and prices are subject to change. • All sales are final, no refunds. Subscribers may exchane tickets for another night or performance with no exchange fee; single-ticket exchanges are subject to a $3 per ticket exchange fee. Exchanges are subject to availability and must be made at least one business day prior to performance; an upgrade fee may apply.

Row A

Right


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8 |

| www.cupresents.org

TICKETS NOW ON SALE colorado.edu/theatredance

Dance

Full season available online


| 303-492-8008 | 9

Congratulations to the University of Colorado College of Music, whose efforts have brought entertainment, learning, melody, percussion and passion to our community. We’re proud to sponsor the University of Colorado College of Music.

For subscription information call 303.444.3444 or visit DailyCamera.com.


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Every Journey Begins with a Single Step. Every gift makes a big difference! Our concerts and productions depend on private donations from audience members like you. We encourage you to use the envelope in the center of this program to make a gift that will help us continue to bring global performance and world class entertainment to Boulder! Simply give your envelope to an usher or mail it back to us. Donations can also be made online at cupresents.org or by calling 303-735-6070. Thank-you for your support!


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EDWARD DUSINBERRE, violin KÁROLY SCHRANZ, violin GERALDINE WALTHER, viola ANDRÁS FEJÉR, cello PROGRAM String Quartet No. 4 in C Minor, Op. 18, No. 4 Allegro ma non tanto Scherzo. Andante scherzo quasi Allegretto (C major) Menuetto: Allegretto Allegro

Ludwig van Beethoven (1770-1827)

String Quartet No. 3 Moderato - Allegro - Moderato - Allegro molto

Béla Bartók (1881-1945)

Intermission

ˆ

String Qurtet No. 1 in E Minor, “From My Life” Allegro vivo appassionata Allegro moderato à la Polka Largo sostenuto Vivace

Bedrich Smetana (1824-1884)

T A K Á C S Q U A R T E T, N o v e m b e r 3 & 4 , 2 0 1 3

THE TAKÁCS QUARTET


PROGRAM NOTES

T A K Á C S Q U A R T E T, N o v e m b e r 3 & 4 , 2 0 1 3

String Quartet in C Minor, Opus 18, No. 4 Ludwig van Beethoven Soon after arriving in the big city, Beethoven started thinking small. No explosive symphonies or thunderous piano sonatas, as he began adjusting to life in music-crazy Vienna in 1792. He was the new kid on the block, and Beethoven knew he had to mind his manners. Establishing himself as a brilliant pianist and improviser, he slowly made a name as a composer by knocking out some pleasant chamber pieces. Significantly, there were no string quartets yet. Beethoven understood that such works were solidly in the care of Vienna’s reigning stars, Haydn and Mozart. His early chamber ditties were slight, but well-received—and though his self-esteem was growing, he must have reasoned that it was too early to tackle a quartet. Still, ideas were being formed and scribbled in sketch books. Finally, in 1800, Beethoven polished up a set of six quartets. Published the following year as Opus 18, they represented a huge step in his maturation—and in the continuing development of the genre. The newly completed String Quartets were unveiled at Friday morning musicales in the home of their dedicatee, Prince Joseph Lobkowitz. No surprise that the Opus 18 collection numbered a halfdozen, since Haydn and Mozart favored issuing their collections in groups of six. With the release of Opus 18, his name would be linked with those two masters—then, and forever. The darkest of the six, the C-minor heard on today’s program, is listed as No. 4, though it was the last to be written. This is the only minor-key quartet of Opus 18, and, when viewed in retrospect, one that seems a preview of the grown-up Beethoven. The opening Allegro establishes its brooding seriousness right away, in a restless melody that is broken by a series of hammer-blow, double-stop chords—and then just as quickly, it switches into a new cheerful major-key theme. Not that the initial mood would be forgotten. Notice how the churning opening and those hammer-blow chords keep popping up, right to the final measures. In the absence of a true slow movement, the Scherzo hints at a playful little fugal idea that develops into a foot-stomping folk dance. The following Menuetto comes as a mild shock, eschewing the dance form’s usual gaity, instead recalling the restless tone of the first movement. Another surprise awaits later on here, as Beethoven instructs his players to speed up the reprise of the minuet theme. The finale can be seen as a tribute to Haydn, the father of the string quartet, in a brisk, Hungarian-flavored ditty

reminiscent of Haydn’s gypsy forays. Yes, it is set in the minor key, but light years away from the dark, uneasy mood that opened this Quartet. String Quartet No. 3

Béla Bartók

How you listen to this compact, unforgivingly intense work depends on how deeply you wish to enter Bartók’s world. Veteran musicologists will pore over the score, noting the inversion of this melodic idea, or the augmentation of that one. Analysis will reveal a wondrous overall structure and extraordinary details. As for the rest of us, what remains is a riveting listening experience, free from worries over musical construction. It does help to know that this single-movement piece (the shortest of the six Quartets) is subdivided into two basic thematic parts, then divided again into two four labeled sections—though their interconnection is of less immediate concern. It’s also valuable to recognize Bartók’s use of nearly every string-playing trick in the book, all as a means of exploring the use of “color motifs.” Among the sonic effects here: glissandos (sliding up or down along the fingerboard) and pizzicatos (right- or left-hand plucking of the strings), along with novel bowing effects that create other-worldly sounds, such as col legno (hitting the strings with the wood side), sul ponticello (playing near the instrument’s bridge), sulla tastiera (bowing near the fingerboard) and punta d’arco (using the very tip of the bow). The Third Quartet, as with pretty much everything Bartók wrote, follows a dedicated quest for mastery of his art. In a span of 30 years, he wrote the six quartets that stand as a monument of 20th-century chamber music. An early effort from 1899 was left unpublished, the completed half-dozen then emerging at various intervals from 1908 to 1939 (ideas for a seventh quartet were sketched shortly before his death). The Third stands as something of a breakthrough, completed in 1927 after Bartók heard a performance of Alban Berg’s Lyric Suite. Written a full decade after his previous quartet, here is the fulfillment of a desire to incorporate the music of his Hungarian homeland in new ways. Not merely quoting peasant melodies, Bartók instead followed their lead in breaking established rules. During his early years as a roving folklorist, he did more than collect tunes; he began to understand the originality of their construction. He noted that the experience “led to the possibility of a complete emancipation from the predominance of the traditional major-minor key system.” Out of


String Quartet No. 1, “From My Life”

Bedřich Smetana

Musical autobiographies are relatively rare—compared, certainly, to the number of literary ones. Berlioz’s Symphonie fantastique is a thinly veiled attempt to describe his frustrated amorous yearnings. Richard Strauss penned a pair of self-glorifying tone poems, most famously A Hero’s Life. But none of those puffedup works can touch the brutal honesty of the first of two string quartets by the Czech composer Bedřich Smetana, written in 1876, and premiered three years later. For all of its exuberant dance episodes and sheer brilliance of composition, this work, tellingly subtitled “From My Life,” is an emotionally draining piece for the informed listener. There is deep tragedy here—foretold in the viola’s opening cry, and climaxed in one of music’s most devastating moments. Just as Beethoven endured the onset of deafness at the peak of his career, so too did Smetana. Each man chose to deal with his affliction within the intimacy of chamber music. In the last movement of his final String Quartet, Opus 135, Beethoven scrawled in the score, “Must it be?” and later answers, “It must be”—comments that perhaps signified an acceptance of Fate’s cruel nature. Smetana was far more expansive in his musical autobiography. Far from concealing the score’s personal subject matter from his listeners, he offered a detailed accompanying description of the Quartet. “I wanted to depict in music the course of my life,” he wrote, “written for four instruments which, as in a small circle of friends, talk among themselves about what has oppressed me so significantly.” The dramatic viola solo that opens the work, he tells us, is “a warning of my future misery.” Quickly, the mood

changes, depicting a “love of art in my youth.” The following Allegro moderato à la Polka “brings to mind the happy times of youth,” while the dreamy, romantic Third Movement “recalls the happiness of my first love.” Even a casual listener, unaware of the tale being told, can sense the moods expressed, without a specific road map. But the tragedy of the concluding Vivace does require explanation. It begins with an uninhibited dance, representing the pleasures of being regarded as one of Bohemia’s finest composers (through such works as the Czechlanguage opera, The Bartered Bride). But then, suddenly, the dancing stops, replaced by an ominous tremolo in the low strings and the appearance of a disturbing high E, played as a sustained harmonic by the violin. Deafness had arrived, represented by a spirit-crushing moment unparalleled in all music (though Smetana’s actual shriek was in A-flat). The music then fades away in despair. His hearing loss dates back to the summer of 1874, two years before the Quartet, when he began experiencing high-pitch tones, rushing sounds and the clatter of “breaking sticks”—all manifestations of tinnitus. Totally deaf as he wrote the Quartet, Smetana fought off his affliction and continued to compose, producing his popular symphonic ode, Ma Vlast (My Homeland), and a second Quartet. But the deafness took its toll: His physical and emotional health gradually failed, until he was committed to a Prague mental hospital in April, 1884, where he died shortly after. —Marc Shulgold

T A K Á C S Q U A R T E T, N o v e m b e r 3 & 4 , 2 0 1 3

this came a fresh view of the 12-note scale that allowed him to focus on each note independently. Folk-like rhythms and melodic snippets emerge here and there in the Third Quartet (most noticeably at the start of the second part’s energetic Allegro), but this is hardly a danceable piece. The quartet can still sound perplexing to some ears, yet it won the composer high praise at its birth. In the midst of his first tour of America in 1927, Bartók submitted the Third Quartet (anonymously!) to a competition sponsored by Philadelphia’s Musical Society Fund. Among the judges were legendary conductors Willem Mengelberg and Fritz Reiner. Much to his sincere surprise, Bartók was named co-winner (with Alfredo Casella), and received a much-needed sum of $3,000. Such recognition was a relief, considering that his brutal ballet, The Miraculous Mandarin, had caused an uproar the previous year. Perhaps buoyed by his Philadelphia triumph—and by the richness of musical ideas unleashed in the Third Quartet—Bartók completed the Fourth within the following year.


THE TAKÁCS QUARTET QUARTET IN RESIDENCE • UNIVERSITY OF COLORADO BOULDER

The University of Colorado welcomes applications to one of the most vibrant chamber music programs in the country. With exciting new scholarship opportunities, supported by the Takács Society and the Starling Foundation, the Takács Quartet is accepting students for individual study, and one pre-formed quartet to fill the Graduate Quartet Residency. Distinguished members of the faculty include:

Lina Bahn, violin

Paul Erhard, bass

Charles Wetherbee, violin

Nicolò Spera, guitar

Erika Eckert, viola

Janet Harriman, harp

Judith Glyde, cello

Margaret Berg, music education, strings

for more information about string chamber music at cu and the graduate quartet program, please contact:

Judith Glyde, Chair, String Faculty 301 UCB, College of Music Boulder, Colorado 80309 Judith.Glyde@colorado.edu • 303.492.5921

music.colorado.edu • takacsquartet.com

THE TAKÁCS QUARTET

Geraldine Walther, viola Károly Schranz, violin Edward Dusinberre, violin András Fejér, cello

DEGREE PROGRAMS: • Bachelor of Music • Master of Music • Doctor of Musical Arts • Professional Certificate in String Quartet Performance


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2013 Fall Faculty Tuesdays recitals are held at 7:30 p.m. in Grusin Music Hall in the Imig Music Building. All performances are free and open to the public. September 17: The program will feature ethnomusicologist/composer Dr. Brenda M. Romero and guests ethnomusicologist/performer Jay Keister and Mami Itasaka Keister, a Japanese dance specialist formally known as Miko Bando. Romero will begin with a brief lecture recital on early New Mexican folk songs on voice and guitar that will be followed by two short Japanese pieces featuring Keister and Miko Bando. The concert will end with a sampling of Dr. Romero’s formal compositions. September 24: A FRENCH SOIRÉE: Hsing-ay Hsu, piano, will be joined by faculty colleagues Jennifer Bird-Arvidsson, soprano, Andrew Cooperstock, piano, and Charles Wetherbee, violin with piano solos by Ravel including Scarbo and Debussy duets including songs from Recueil Vasnier, Violin Sonata, and Fêtes (4 hands). October 1: Margaret McDonald, collaborative piano, will be joined by new voice faculty Abigail Nims, mezzo-soprano, Jennifer-Bird Arvidsson, soprano, visiting faculty artist Leone Buyse, flute, Charles Wetherbee, violin, and Judith Glyde, cello for an evening of works by female composers Fanny Mendelssohn-Hensel, Clara Schumann, and Mel Bonis followed by Mendelssohn’s popular Piano Trio in D Minor. October 8: ECLECTIC INFLUENCES: Daphne Leong (piano), with John Gunther, saxophone, Patrick Sutton, guitar, Douglas Walter, marimba, Carl Dixon, marimba, and Michael Tetreault, percussion. A cutting-edge mix of avant-garde new music, jazz, and soul influences, this program features the world premiere of Clear Sounds among Hills and Waters for solo piano by Robert Morris, McDermott’s Smoke of Burning Cloves for marimba, and Andriessen’s Hout and Shende’s Throw Down or Shut Up! October 15: Abigail Nims, mezzo-soprano and Nicholas Carthy, piano. Welcome Abigail Nims to our voice facilty and to Boulder. She will be joined on the piano by Nicholas Carthy as they perform works by Schumann, Poulenc, Ives, Ginastera, and Harbison. October 22: FIDDLE FIESTA: Lina Bahn is the leader of the party of wonderful solo and duo violin music with guest colleagues Charles Wetherbee, Károly Schranz, and Edward Dusinberre. October 29: AMERICAN SONGS: Patrick Mason, baritone will present the premiere of Robert Spillman’s song cycle The Branch Will Not Break: Nine Poems of James Wright with the composer at the piano. Included in the program will be songs by Stephen Foster and Leonard Bernstein. November 5: HORNS APLENTY: Join CU Associate Professor of Horn Michael Thornton and his colleagues from the Colorado Symphony Horn Section for an evening of music for horns. Works will include the Schumann Konzertstücke for Four Horns, Mitushin Horn Quartet, and a featured performance of the William Buck Romanza for Four Horns, recently discovered in the American Music Research Center at the University of Colorado. November 19: EN TIEMPO DE TANGO: Enjoy an evening of tangos and tango-inspired pieces with Alejandro Cremaschi and Trio Cordilleras, Beth Kipper, violin, Thomas Heinrich, cello. The program features a few classic tangos, and pieces by Piazzolla, Luis Jorge Gonzalez, Emilio Colon, Juan Maria Solare, Miguel del Aguila, Eduardo Alonso-Crespo and others. December 3: EVENING LIGHT: Charles Wetherbee, violin, and David Korevaar will present a violin and piano duo recital featuring two rarely performed masterpieces, the Saint-Saëns D Minor Violin Sonata and the Dohnanyi Violin Sonata. Also included on the program is the Schubert Sonata in G Minor and 10 preludes by Shostakovich.


PRO MUSICA COLORADO CHAMBER ORCHESTRA CYNTHIA KATSARELIS, MUSIC DIRECTOR AND CONDUCTOR

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ARTIST SERIES Mission Statement

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.

DONORS CONCERT SPONSORS Colorado Public Radio Daily Camera Mark H. Carson and Associates, P.C. Emerson Process/MicroMotion Hotel Boulderado Hurdle’s Jewelry Friends of the Artist Series James and Associates, LLC KUNC KUVO Roser Visiting Artist Fund Western States Arts Federation

PARTNER IN THE ARTS Boulder Weekly Woodsongs Flowers in Bloom Liquor Mart Sage and Savory

BENEFACTOR

Gregory Silvus and Melanie Miller

SPONSOR

Anonymous Dick and Diane Dunn Daryl and Kay James Mary Lamy Louise Pearson and Grant Couch

PATRON

Mark and Margaret Carson Chris and Barbara Christoffersen Olivia Edwards Kahleen and Tony Flippo Suzanne and David Hoover Robert and Sandra McCalmon Corp sponsorship?????

SUPPORTER

Mark H. Carson

Roser Visiting Artist Fund

Thank you to the City and County of Broomfield and the 1st Bank Center for providing advertising space on their LED sign on US 36.

FRIENDS OF THE ARTIST SERIES

Scott Wiesner and Janet Ackermann Joan McLean Braun Michael and Carol Gallucci Myra Jackson Susan and Jon Lounsbury Heidi and Jerry Lynch Jerry and Jamie Orten Mikhy and Michael Ritter Alicia and Juan Rodriguez Daniel and Boyce Sher Theodore and Ruth Smith Lawrence and Ann Brennan Thomas

CONTRIBUTOR

A Friend Gil and Nancy Berman Ellen and Dean Boal Norma Ekstrand and Tom Campbell Charles and Martha Everill Judy Gould Kathryn Keller and William Wedum Gregory and Gladeane Lefferdink Harold and Joan Leinbach Jeff and Janet Martin Judy and Alan Megibow Sally Powell-Ashby amd John Ashby Elizabeth Rauch Luana and Paul Rubin Douglas Taylor Center Copy Boulder, Inc.

MEMBER David Beausang Geraldine Boone Chris and Margot Brauchli Otto and Ruth Buhler Pauline and Noel Clark Paul Cohen Sandra and Lawrence Cohn Terry and Colleen Conant Sylvia and Burt Darmour Douglas and Rita Dart Kenneth and Sally Dell Germaine Eagleton Fran Evans Leslie and Merrill Glustrom Jo and David Hill Larry and Barbara Jones Isabel Lee Julia Lee Judah and Alice Levine Kay and Paul McCormick Robert and Marilyn Peltzer Kim and Richard Plumridge Randall Kenneth Rutsch Mary and Andrew Skumanich Courtland and Carolyn Spicer Zoe Stivers Ellen and Adam Tschida Vince and Caroline Wayland

ARTIST SERIES ADVISORY BOARD Gil Berman Rodolfo J. Betancourt Ellen T. Boal Joan McLean Braun John S. Davis Diane Dunn Michael A. Gallucci Lissy Garrson Laima G. Haley Daryl K. James, President Maryan K. Jaross Ruth C. Kahn Kathryn S. Keller Jerry C. M. Orten Louise Pearson Gregory L. Silvus Ellen Taxman Nicholas J. Vocatura

FOUNDATIONS AND MATCHING GIFTS Janet E. Ackermann and Scott R. Wiesner Charitable Fund Paul Bechtner Foundation Carson-Pfafflin Family Foundation A. G. Edwards & Sons, Inc. National Endowment for the Arts Newton Family Fund Western States Arts Federation Tour West Polk Family Charitable Fund George F. Reynolds Endowment Scripps Company Make all gifts payable to the University of Colorado Foundation and mail to ARTIST SERIES, CU College of Music, 301 UCB, Boulder, CO 80309-0301. For credit card payments, questions or additional information, please call the College of Music Development office at 303-735-6070.


Ars Nova Singers 28th Season _ Connections ^ 2013-2014

The Violin and the Voice:

In Concert with Edward Dusinberre Ars Nova Singers welcomes the first violinist of the Takacs Quartet in a special one-night-only collaboration at Macky Auditorium. Join us for this rare opportunity to hear one of the great violinists of our time, performing with Ars Nova Singers in contemporary works by Knut Nystedt, Rudi Tas, and Reed Criddle, as well as Edward’s first Boulder performance of the famous Chaconne (from Partita No. 2 in D minor) by Johann Sebastian Bach.

Saturday, February 8, 2014, 7:30pm Macky Auditorium, Boulder

Tickets: $35 / $25 / $15, available at macky.colorado.edu

_ www.arsnovasingers.com


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

ENDOWMENT GIFTS

MEMBER

Takács Scholarship in Memory of Fay Shwayder Duncan Campbell Harry Campbell Margaret and Edward Campbell Norma Johnson Judith and Gary Judd Jonathan Zeschin, Essential Advisors

Lois Abbott Neil and Marcia Geissinger Ashby Maria and Jesse Aweida Harold and Ingrid Becher Kevin and Diana Bunnell Patricia Butler Noel and Pauline Clark Richard Collins and Judith Reid Helen Corbett Charlotte Corbridge Clara Deser Barbara and Carl Diehl Carolyn and Don Etter Jean and Bob Fischer Lloyd and Mary Gelaman Dianne and Kenneth Hacett Richard and Catharine Harris Russell and Ann Hayes Bruce and Kyongguen Johnson Mireille Key Alice and Judah Levine Albert and Virginia Lundell Heidi and Jerry Lynch Caroline Malde John and Nancy Malville J. Richard and Marjorie McIntosh Josef and Sara Michl Sandra Moriarty Sue and James Palmer Faith and Roy Pterson Antonia and Timothy Piwonka-Corle Arthur and Ina Rifkin Joanna and Mark Rosenblum Ruth Shanberge In Memory of Karen McMurray Mary and Andrew Skumanich Todd and Gretchen Sliker Jan and Charles Squier Shirley and Mark Steele Berkley Tague Betty Lou Thacker Mary and Peter Van Etten Betty Van Zandt Christopher and Leanne Walther Rita and Lawrence Weiss Jim and Nurit Wolf Bill Woo

BENEFACTOR

Albert and Nancy Boggess Chris and Barbara Christoffersen Norma Johnson Gary and Judith Judd

SPONSOR Janet and David Robertson The Takács Quartet Marion Thurnauer and Alexander Trifunac

PATRON

Thomas and Carol Cech Carol Lena Kovner Thurston Manning

SUPPORTER

Anne Heinz and Ran Yaron Patricia and William Johnson Robert Kehoe Walter and Eileen Kintsch Ray and Margot LaPanse Newton Family Fund, Inc. Virginia Newton Neil and Martha Palmer Mikhy and Michael Ritter Lawrence and Ann Brennan Thomas

CONTRIBUTOR Stanley and Virginia Boucher William and Alice Bradley Christopher and Margot Brauchli Pamela and Barry Gatz Harold and Joan Leinbach Paul and Nancy Levitt Patricia and Robert Lisensky Annyce Mayer Lise Menn Patricia Thompson Alice Dodge Wallace

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

GRUSIN MUSIC HALL CHAIR PURCHASES Jane Byers Charles (Chuck) Byers Frances Dahlberg Madeline Day Madeline Mahr Day Patsy Lynch Wood L. E. Gatterer Larry Gatterer Charlene Gatterer Lloyd and Mary Gelman Doree Hickman Doree Hickman Jerry Hickman George Lichter George Lichter Family Alice and Judah Levine In Memory of Joyce Gellhorn Maxine Mark In Memory of Thomas R. Mark Maxine Mark Kris McCusker In Memory of Phyllis Sweetland McCusker Lise Menn Valorie Mooney Valorie Mooney William Mooney Mutsumi Moteki In Memory of Hugh and Juanita Kirtley Rebecca Roser In Memory of Pearl and Mel Pedgrift In Honor of Professor David Korevaar Edith Stevens In Memory of Richard C. McLean Theory Department In Honor of Dean Daniel Sher Travis Vardell Kenneth A. Vardell

Chair named In Memory of Joyce Gellhorn Anonymous Linda Boley Alice and William Bradley Ted Engelmann Arthur and Madeline Estin Janice Harvey Jennifer Kamper Jane and Roger Larson Alice Levine Ruby Marr Judi Oser Julie Phillips Barbara Roach Margie Warsavage

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


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FRIENDS OF CU OPERA The CU 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 CU Opera. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting CU Opera, please contact our development office at 303-735-6070.

CORPORATE, FOUNDATIONS, AND ENDOWMENT SUPPORT Corporate and Foundation Support Academy Retirement Community Aetna Foundation, Inc. Blackhawk Trust Boulder Valley Rotary Club Colorado Academy of Lifelong Learning Denver Lyric Opera Guild Frasca Food & Wine JAS Ventures Polk Family Charitable Fund Louis and Harold Price Foundation The Schramm Foundation The following have permanent endowments established in recognition of CU Opera, its donors and its students. Nancy and Ted Anderson Music Awards Daryl and Lauren Boyle Music Theater Scholarship Daryl and Lauren Boyle Voice Scholarship DeWitt and Billie Marie Brennan Memorial Music Scholarship Berton Coffin Graduate Scholarship in Voice Berton Coffin Fellowship Fund Viola Vestal Coulter Foundation Voice Scholarship in Honor of Harold A. Norblom Wilma and Perry Louis Cunningham Scholarship in Voice Barbara M. Doscher Scholarship Wallace F. Fiske Performance Awards Ann and Gordon Getty Foundation Dennis Jackson Opera Scholarship Dale R. Johnson Opera Scholarship Lacy CU Opera Endowment Ed and Kay McDowell Opera Endowment Claudia Boettcher Merthan Vocal Scholarship Trudi Mielziner Graduate Opera Scholarship Charlotte Orr Reid Memorial Vocal Scholarship Gregory Philip Ranno Excellence in Music Scholarship Anthony and Dorothy Riddle Lyric Theater Performance Prize William Earl Rose, Sr. Scholarship Fund Galen & Ada Belle Files Spencer Foundation Beth and Bill Suitts CU Opera Endowment Howard B. Waltz Music Scholarship Paula Marie and H. Rolan Zick Endowment

BENEFACTOR

CONTRIBUTOR

Allen Family Fund Bob Graham Louis and Harold Price Foundation Ann Oglesby and Denny Brown Galen & Ada Belle Spencer Foundation Academy Retirement Community The Schramm Foundation

A Friend Jason and Elizabeth Baldwin Colorado Academy of Lifelong Learning Jeanine Forman-Ham Lloyd and Mary Gelman Curtis and Mary Hill Harold and Joan Leinbach Robert and Patricia Meyers David and Ann Phillips Daniel and Boyce Sher Peter Wall

SPONSOR Denver Lyric Opera Guild

PATRON Eleanor Caulkins Chris and Barbara Christoffersen Betsy and Albert Hand Robert and Mikee Kapelke Rotary Club of Denver Foundation Alan and Martha Stormo

SUPPORTER Mark and Margaret Carson James and Sally Kneser Theodore and Ruth Smith Lawrence and Ann Brennan Thomas Elizabeth and George Ulbrick

MEMBER Judith Auer and George Lawrence James and Judith Bowers Allene Cash Wallace and Beryl Clark Stephen Dilts J. Michael Dorsey Walter and Mary-Ruth Duncan Ellen and John Gille Judy Gould Janet Hanley Barbara and John Hill Pam Jones and Mark Bianchi Susan and Albin Kolwicz Marion and Frank Kreith C. Nicholas and Mollie Lee In Memory of Waye B. Daniels Patricia and Robert Lisensky Heidi and Jerry Lynch Bruce and Jeanette Mackenzie Janet and Scott Martin In Memory of Karen McMurry

Marian Matheson Byron and Catharine McCalmon Denise McCleary and Paul Von Behren Margaret Oakes Robert and Marilyn Peltzer Dennis Peterson Gail Promboin and Robert Burnham Alicia and Juan Rodriguez Andrew and Mary Skumanich Joyce Thurmer In Memory of Karen McMurry Richard and Caroline Van Pelt

VOCAL ADVISORY BOARD Lawrence H. Anderson Stephen Bruns Nicholas R. Carthy Martha Coffin Evans, chair Lissy Garrison Leigh K. Holman Glenny LeGendre Kathleen M. Ness Ann Oglesby Shirley J. Riggs Stephanie Rudy Julie Ann Silver Reed F. Williams


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

1401 Pearl Street • Suite 100 • Boulder, CO 80302

303-546-0222

and receive 20% off your bill 921 WALNUT STREET | 303.443.1188 | CHOPHOUSE.COM 921 WALNUT STREET | 303.443.1188 | CHOPHOUSE.COM

www.TheCheesecakeFactory.com

Fair Trade Organic In-house Micro-roasted Coffees Founded by musicians, Supporting musicians Come play with us!

dine from our seasonal menu and enjoy an incredible meal in an intimate and casual atmosphere. eclectic american cuisine

Reservations (303) 651-3330 101 Pratt Street, Longmont www.sugarbeetrestaurant.com

Connect with us

Hours (6-6 weekdays, 7-6 weekends)

1132-1 W. Dillon Rd. Louisville, CO 80027 www.parmamozzarellabar.com

956 West Cherry Street Louisville, CO 80027 720.259.1723 www.paulscoffeeandtea.com

10% OFF YOUR BILL IF YOU BRING IN YOUR PROGRAM

V IA T OSCANA r i s t o r a n t e

$20 off

any purchase of $60 or more*

*Limit one discount per table and may not be used for Happy Hour or when any other coupon, offer or discount is used. All restrictions apply EVEN IF the party is seated at separate tables and/or receives more than one check and/or orders separately at the bar or another table. Excludes Specialty Dinners and take-out. Please compute gratuity on pre-discount amount. Expires November 14, 2013.

viatoscana.com 303.604.6960 356 McCaslin Blvd. Louisville | 4pm Mon - Sat

Dizzy’s makes hand crafted, gourmet donuts, using only the finest ingredients.

Eat a good one! creme brulee

maple bacon

1606 Conestoga St. #2 Boulder, CO 80301 303-494-5331 Open 6:30am - 2:00pm CLOSED TUESDAYS pineapple fritters

& more


| www.cupresents.org

32 |

CU OPERA

G

reat repertoire, lavish scenery, amazing voices, and outstanding value— these are the hallmarks of CU Opera. Director Leigh Holman and Music Director Nicholas Carthy bring you the best of classical and contemporary opera in three fascinating productions each season and in CU New Opera Workshop in the summer.

La Bohème (sung in Italian)

Hansel and Gretel (sung in English)

Side by Side by Sondheim (sung in English)

by Giacomo Puccini

by Engelbert Humperdinck

by Stephen Sondheim

Directed by guest artist Paolo Panizza

Humperdinck’s enchanting opera of the classic Grimm fairy tale follows two children into the forest, where they find a gingerbread house . . . and its hungry witch.

More than a revue of the incomparable Broadway composer’s work, Side by Side by Sondheim features his bestknown tunes alongside narration exploring the context of each piece.

In the Latin Quarter of Paris, Rodolfo the idealistic poet falls in love with Mimi, a frail but resolute milliner. Around their tender love story, Puccini depicts the exuberant lives of struggling young artists, expressing joie de vivre, love, and ultimately heartbreak.

March 14, 7:30 p.m. March 15, 7:30 p.m. March 16, 2 p.m. Macky Auditorium

April 24, 7:30 p.m. April 25, 7:30 p.m. April 26, 7:30 p.m. April 27, 2 p.m. Music Theatre

October 25, 7:30 p.m. October 26, 7:30 p.m. October 27, 2 p.m. Macky Auditorium OPERA SCENES December 9, 7:30 p.m. Music Theatre Free and open to the public

303.492.8008

SEASON TICKETS ON SALE NOW

www.cupresents.org


POLI-SCI DURING THE WEEK. SCI-FI ON THE WEEKEND. Explore a range of credit and non-credit courses that will challenge whatever you believe.


thrill

feel the

10/2 Armitage Gone! Dance 11/8 Van Cliburn Gold Medalist

11/20 MOMIX - Botanica 12/15 Turtle Island & Tierney Sutton A Solstice Celebration 1/17 Chick Corea & Béla Fleck 2/13 Venice Baroque Orchestra 2/24 TAO - Phoenix Rising 3/19 Fahrenheit 451 by Aquila Theatre 4/5 Eddie Palmieri Salsa Orchestra Plus CU Opera, Takács Quartet, CU Symphony Orchestra, & Holiday Festival

son Sea ets tick ale on s w! no

cupresents.org

303.492.8008

2013–2014 Season

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


3 hours of dancing. 30 days in remission. 1 amazing life.

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Get the facts at www.exemplagoodsamaritan.org

CU Presents Magazine Takács Fall 2013, Nov. 3-4  

In-Theater magazine produced for CU College of Music

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