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It is always a pleasure to welcome you to another season of exhilarating opera performances at

Opera Colorado. We have an exceptional 2014 season planned for you and we thank you for your generous support and enthusiasm. You make everything we do possible.

Over the past twelve months we have been working diligently to restructure Opera Colorado, positioning it for long-term fi nancial viability and artistic achievement. We have embraced signifi cant challenge and made many diffi cult decisions, all of which have proven successful in stabilizing our fi nancial health and allowing us to plan exciting programming for future seasons.

During the 2014 season we will rediscover two timeless classics, Verdi’s Rigoletto and Bizet’s Carmen. Both productions feature world-class casts led by extraordinary directors and conductors. In keeping with our artistic vision, Rigoletto will be presented in an opulent classic production while Carmen will take a fresh, stark look at the sexually charged and ultimately violent relationship between the sultry Carmen and the increasingly reckless Don José. This is truly a season of great drama fi lled with all the defi ning elements that make a compelling opera experience: lust, revenge, obsession and murder. What more could you want?

While our productions at the Ellie Caulkins Opera House are the most recognized part of Opera Colorado, we also present Education and Community Engagement Programs which reach over 35,500 students of all ages throughout the Denver Metro Area and Rocky Mountain Region. Opera Colorado’s Young Artists are at the heart of these programs, presenting our tour productions of Romeo and Juliet and The Barber of Seville in schools and community centers from Cheyenne, Wyoming to the western slopes of Colorado. This season you will have the opportunity to hear our Young Artists featured in both Rigoletto and Carmen.

As we bring together extraordinary singing artists, conductors, directors, designers and the Opera Colorado Orchestra and Chorus for productions in 2014, we invite you to join us as we are transported to the exhilarating world of grand opera.

Thank you for making Opera Colorado an important part of your life.

Greg Carpenter Michael HughesGeneral Director Chairman

FROM THE GENERAL DIRECTOR AND CHAIRMAN OF THE BOARD

WELCOME TO THE 2014 SEASON

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8 • O P E R A C O L O R A D O 2 0 1 4

Opera Colorado’s vibrant and impactful array of education programming reaches more than 35,500 students of all ages

each season and includes everything from touring performances in schools, to programs at the Ellie Caulkins Opera House and our in-school residency program Generation OC. We’re sharing the magic of opera in every way possible – however sometimes in order to do so we have to sneak in the back door. As hard as it is for those of us who love opera to believe, not everyone is open to the idea of bringing it into the classroom. There are some roadblocks that we have to navigate and Opera Colorado offers a special program just for these situations: In-School Workshops.

Each year, Opera Colorado enters classrooms to give workshops on a wide variety of subjects, some of which you would expect (teaching choirs, performance skills, vocal projection or opera history) and some unexpected ones, workshops that seem to defy logic. These include understanding gender stereotypes, Shakespeare, and even bullying and teambuilding. “Why is Opera Colorado teaching workshops on this?” you may be asking. The answer might actually surprise you. First, we’re building audiences for the future and we will utilize any opportunity to expose students to opera. Second, as one of the most collaborative art forms, opera offers connections with almost any subject matter or curriculum. Here are some of the unexpected workshops we offer, making connections with opera.

Gender Stereotypes: Believe it or not, we regularly receive requests for this workshop. It connects directly to opera’s history. If you look at a timeline of opera, it’s always been somewhat of a rule breaker and has faced tremendous stereotypes – some continue to this day (think of the woman in the horned hat). In spite of these obstacles, opera has endured and continues to challenge people’s perceptions. In opera we broke the ultimate gender rule by putting women on

stage. We even put them in pants singing the role of a man! Students connect with the idea of challenging rules. By talking about opera’s history, its present and its future, we facilitate an honest conversation about stereotypes and how they impact our world.

Understanding Shakespeare: Let’s be honest…Shakespeare isn’t always easy to understand. That’s where one of our most popular workshops comes in. We use opera to help students understand emotions that they aren’t grasping through the text. Since Shakespeare and opera have a strong connection, we compare the text of the play with samples of the opera. Opera clearly portrays human emotions; students can easily grab onto the big ideas and this increases their overall level of comprehension. Romeo and Juliet by Gounod is a favorite workshop because much of the libretto was taken directly from Shakespeare’s play.

Bullying and Teambuilding: Wait…What? That’s right. Opera Colorado conducts In-School Workshops each season on these two topics. It’s actually a natural fi t because of the nature of opera. There are countless plots that address choices and consequences (which are at the core of bullying), and it’s usually done in a way that is over the top and impactful. Think about Lucia’s madness and what caused it. What about Don José and Carmen? Their choices affected not only

their lives, but everyone around them. Opera plots are powerful and when paired with music, they evoke strong opinions. That’s what we want – students to engage in meaningful conversation. By looking at these stories, students talk about issues they are facing in an expressive way, removed enough from reality to foster a safe environment for discussion. When they realize that opera inspires them, there’s a lasting connection to the art form.

For teambuilding, we use the business of opera to teach students about working together. To establish a respectful, even playing fi eld, we do some role playing. Students are placed into teams, which become an opera company faced with the challenge of presenting a production – organizing everything from marketing to development and more. To accomplish their assignment, students must

stay organized, meet deadlines and communicate regularly. Often, they are surprised by what they accomplish as a team.

The next time you hear about Opera Colorado workshops that sound odd or unrelated, rather than asking “why?” ask yourself “why not?” Sometimes we reach students through obvious connections, while other times we must think outside the box to fi nd relevance in less obvious ways. This incredible art form not only entertains, it educates. Opera offers a gateway into far more than we can imagine and we want everyone to experience it.

Edited by Rachel Perez

OPERA IN THE CLASSROOM

UNEXPECTEDCONNECTIONSBy Cherity Koepke

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O P E R A C O L O R A D O 2 0 1 4 • 13

WHENCECARMEN?By Betsy Schwarm

The title Carmen may refer to either of two great examples

of the creative arts: the novella by French author Prosper Mérimée (1803-1870) or the opera by French composer Georges Bizet (1838-1875). The novella came fi rst, in 1845; the opera followed thirty years later, premiering at the Paris Opéra-Comique March 3, 1875, exactly three months before its composer’s death from a heart condition. In basic concept, the stories are strongly similar. Each has a fi ery gypsy woman who works in a cigarette factory and counts a number of smugglers amongst her acquaintance. Each has a young army offi cer who walks away from his military service to be with that title character. Each has a charismatic bullfi ghter who acquires, if not Carmen’s whole heart, at least her temporary attentions. In both cases, the leading lady perishes when the young army offi cer, having failed to regain her affection, takes her life. To that point, the two Carmens are the same basic tale.

However, in crafting the opera’s text, Bizet’s librettists, Henri Meilhac and Ludovic Halévy, made signifi cant changes in the interest of dramatic fl ow and operatic practicalities. In Mérimée’s version, the dramatic incidents are related to an outside observer by the young army offi cer, who here has a last name, too, not just “Don José,” but “Don José Lizzarrabengoa.” Everything has happened in the past, and we are only hearing of it second hand through the narrator. Meilhac and Halévy recognized that such an approach would never work on the stage, for the audience would both need and want to see the action.

Additionally, they judged that no opera would pass muster with only one prominent female character. Moreover, they reasoned that with a cast that included a woman of loose morals, a man who becomes a murderer, and another man who has little to recommend himself other than his bravery in the bullring, the story lacked opportunity for softer music – not to mention likeable personalities. So they added Micaela, the hometown sweetheart of Don José, whom he abandons

to take up with Carmen. The opera’s vision of her comes directly from Mérimée. The novelist did not include a Micaela in his story, but he does have Don José describe the girls of his home region of Navarre as having “blue skirts and long plaits of hair.” Michaela is almost always costumed in exactly that way, and her music makes her a tender soul, so one may imagine that Mérimée would be satisfi ed with her addition.

Others of Mérimée’s lines carry over into the opera, if not in specifi c wording, at least in the gist of the thought. José admits to being “rather afraid of the Andalusian women,” with their “mingled sensuality and fi erceness.” So when he fi rst sees Carmen at her sultry best, he pretends not to notice her, which is exactly how the scene plays out in the opera. Furthermore, in describing that afternoon to his passive listener, José remarks wryly of Carmen, “she, like all women and cats, who won’t come if you call them, and do come if you don’t call them, stopped short in front of me and spoke to me.” So it happens, too, in the opera.

Later in Mérimée’s tale, José observes “Indeed, nothing that she did ought ever to have astonished me.” The operatic José never expresses such a view, though indeed, one can hardly help wishing that he might have been so wise. Of course, if he were so wise, he would have walked away and the drama would have suffered by the change. Mérimée had crafted a work electric in its dramatic potential. It is much to Bizet’s credit that he recognized its operatic potential.

Betsy Schwarm is the author of Operative Insights.

... SHE, LIKE ALL WOMEN AND CATS, WHO WON’T COME IF YOU CALL THEM,

AND DO COME IF YOU DON’T CALL THEM...

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14 • O P E R A C O L O R A D O 2 0 1 4

Being a young opera singer in today’s world is not easy. For those of us with

the dream and the drive to break into the business of opera, our 20s can be a wildly exciting and equally frustrating time. After spending the better part of a decade in college and graduate school, we look to opera companies’ young artist programs to

help us on our path to a performing career. Opera Colorado gave us that opportunity by hiring us as their 2014 Young Artists. A busy and thrilling time, our fi ve-month residency began January 2nd and we spent the fi rst two weeks preparing our touring operas, abridged versions of TheBarber of Seville and Romeo & Juliet, both sung in English. Beyond the necessary musical and staging rehearsals, we took the pieces apart to understand them dramatically and emotionally. We laughed and cried together, and what happened to the shows as a result was amazing. We inhabited the operas in a way that made them real to us, and hopefully to our audiencesas well.

Many Young Artist programs have outreach shows that attempt to teach kids about opera, but instead of featuring an abridged opera, they consist of arias and musical theater songs mixed together. Some young artists see outreach as a necessary burden or rite of passage. However, the opposite is true at Opera Colorado. We enjoy bringing real operas to the people of Colorado, enabling them to enjoy spectacular opera in an authentic way. We show kids at age fi ve that opera is fun and exciting, just like the other forms of entertainment they see every day. When we perform Romeo & Juliet, we show apprehensive high school students that opera isn’t a stuffy, outdated art form, but rather an honest expression of the human condition. Why do we do this? To build a new audience for the future of opera. It is our job, as the next generation of singers, to build an audience for our future.

Along with our touring shows, Opera Colorado gives us the rare and thrilling opportunity to sing supporting roles alongside today’s opera stars in mainstage productions of Rigoletto and Carmen. Beyond the experience of sharing the stage, the invaluable opportunity to rehearse with and learn from artists we admire helps us to navigate our future. In May, we will assume leading roles in Carmen for a sold-out audience of students in the Ellie Caulkins Opera House. Most companies do not give young artists an opportunity like this.

This residency challenges each of us as artists and as people. We learn from our experiences, our mentors and each other. I know I speak for my fellow Young Artists when I say that we couldn’t be

happier to be a part of Opera. Everyone in this company is fi ercely supportive and wants the best for us. Our General Director Greg Carpenter and Artistic Advisor Ari Pelto invest their time and talent in our development. I’ve never been involved with a company where these types of leaders invested so much in their Young Artists. We have a world-class director, Cherity Koepke, and a top notch collaborative pianist, Taylor Baldwin. Together, this team guides us on our quest for artistic and self-discovery; they expect excellence and give us all the support we need. As for my colleagues, Colleen, Louise, Jared and Ben, I am lucky to work and

live with these magnifi cent people. This is an exciting time for us, and we couldn’t be more fortunate to work for this sensational company.

A FEW QUESTIONS FOR BRETT

What’s a typical day like performing touring shows?Days typically begin with an early wake up call and a drive to our location. When we arrive at the performance venue, we unpack the sets, costumes and props, which we store in the company SUV. We perform in school theaters, gyms, cafeterias, community theaters and classrooms. This presents us with a new challenge every day

A LOOK INSIDE OPERA COLORADO’S YOUNG ARTIST RESIDENCYBy Brett Sprague

YOUNG ARTISTS PERFORMING THE BARBER OF SEVILLEL-R COLLEEN JACKSON, BENJAMIN SIEVERDING, JARED GUEST, BRETT SPRAGUE AND LOUISE ROGAN

June 28 - August 10

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16 • O P E R A C O L O R A D O 2 0 1 4

because we build our set at each location. As much as we would like to focus entirely on the performance, we also are our own road crew. After the performance we repack the set into the SUV. Although being our own road crew can add to an already taxing day, it gives us a greater appreciation for the whole production. In a Q & A session after each performance, people enjoy hearing about our rehearsal process and our reasons for pursuing a performance career. This discussion humanizes us to our audience and makes opera more accessible, especially to high school students.

What’s one of the biggest challenges of being a young artist? Of course, we love what we do, but being a young artist presents many diffi cult challenges. Each year we spend thousands of dollars applying for and fl ying to New York for auditions in hopes of garnering offers to participate in young artist programs or other opportunities. Even if we are lucky enough to receive a consistent, decent wage offer, it doesn’t last very long. Most contracts range from three to 12 months. This generally means a lot of moving around for us. I am fortunate to have great friends all over the United States, but it’s hard to constantly move. Often we miss the opportunity to visit family on holidays because work during that time of the year proves very lucrative for us. Many of us have to work in food service or

administration to supplement our income. For example, I used to work for Starbucks as a barista. Even some of the better paying young artist programs don’t offer enough income on which to live and pay our student loans. Fortunately Opera Colorado provides housing for us during our residency. In the shrinking world of America opera, programs like this are essential to our growth and maturation as artists. Each year young artist programs are closing their doors due to fi nancial instability and a lack of donor support. If we want a society where live opera continues as a relevant part of our culture, we have to prevent this from happening. Pursuing a career in any fi eld in our current economic climate is challenging, and being an aspiring opera singer is no exception. Young Artists are the future of this art form, and require the fi nancial and personal support of the public. We need audiences of all ages to support us and we need companies, like Opera Colorado, to continue to provide opportunities for growth. The only way this will happen is through donations and ticket sales. I love opera and think it is an essential art form for our culture. I will do everything in my power to keep it alive and growing and I hope opera lovers throughout this country will do the same.

Edited by Rachel Perez

IF YOU ARE INTERESTED IN SPONSORING A YOUNG ARTIST AND WOULD LIKE MORE INFORMATION,

PLEASE CONTACT OPERA COLORADO’S YOUNG ARTIST DIRECTOR CHERITY KOEPKE AT 303.778.0371.

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R I G O L E T T O • 1

MARCH 15 • 18 • 21 • 23, 2014ELLIE CAULKINS OPERA HOUSE

Opera in Three ActsBy Giuseppe Verdi

Libretto by Francesco Maria Piave

There will be two intermissions. The fi rst intermission will be 25 minutes and the second one will be 20 minutes.

C A S T I N O R D E R O F V O C A L A P P E A R A N C E

The Duke of Mantua Rene Barbera* Borsa Brett Sprague^* The Countess Ceprano Colleen Jackson^* Rigoletto Gordon Hawkins* Count Ceprano Benjamin Sieverding^* Marullo Jared Guest^ Count Monterone Stefan Szkafarowsky Sparafucile Stefan Szkafarowsky Gilda Rachele Gilmore* Giovanna Louise Rogan^* A Page Louise Rogan^* A Herald Antoine Hodge Maddalena Dana Beth Miller

Opera Colorado OrchestraOpera Colorado Chorus

Conductor Leonardo Vordoni* Stage Director Bernard Uzan Chorus Master John Baril Lighting Design Donald Edmund Thomas* Wig and Makeup Design Ronell Oliveri

SCENERY DESIGNED BY SARAH J. CONLY & MICHAEL DEEGAN FOR THE ATLANTA OPERA

MADE AVAILABLE THROUGH UTAH SYMPHONY & OPERA

COSTUMES DESIGNED FOR UTAH SYMPHONY & OPERA BY SUSAN MEMMOTT ALLRED

THE PRE-PERFORMANCE LECTURE IS PRESENTED BY MUSIC HISTORIAN BETSY SCHWARM

SPONSORED BY FAIRFIELD AND WOODS, P.C.

*Opera Colorado Debut

^Opera Colorado Young Artists

R I G O L E T T O

2 • R I G O L E T T O

MR. AND MRS. KENNETH T. BARROW | 2014 SEASON SPONSOR

Leonardo Vordoni, ConductorAppearance made possible by a generous gift from Mike and Julie Bock

Benjamin Sieverding, Young ArtistSponsored by Marlis and Shirley Smith, and Karen Brody and Mike Hughes

Brett Sprague, Young ArtistSponsored by Patrick Spieles and Carol McMurry

OPERA COLORADO’S 2014 SEASON SPONSORS

OPERA COLORADO MEDIA SPONSORS

OPERATING THE SUBTITLES | FOLLOW THESE EASY STEPS

Prior to the performance, the screen will display a sponsored message automatically.(You cannot turn it off.)

When the singing begins, briefl y press the red button.

Press once for English titles and twice for Spanish titles.

Press three times to turn the system off.

Repeat these steps after intermission(s).

Pressing the button too many times or holding the button down will result in system failure. Titles are only broadcast when singing occurs on the stage. If you experience diffi culty with the system, please contact an usher for assistance. Opera Colorado does not offer refunds or exchanges in the event of subtitle system failure. A synopsis of the opera is available in this program.

All Sunday matinee performances offer audio description for the visually impaired.Headsets are available at the coat check.

English subtitles written by Jeremy Sortore for Opera Colorado. Spanish translation by TranslatingSpanish.com

AT YOU

R FINGERTIP

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ENG

LIS

H O

R SPANISH SUB

TITLES

R I G O L E T T O • 3

ACT 1The licentious Duke of Mantua regales his courtiers with tales of his latest amorous objective: a pretty girl whose name he does not yet know. He hopes to add her to his lengthy list of conquests before long, but for a more immediate diversion, he makes advances to the Countess Ceprano, despite the glowering presence of her husband. Amused by the situation, the jester Rigoletto mocks Count Ceprano, arousing not only his victim’s hatred, but also that of the other courtiers. Monterone storms in, disrupting the party with bitter accusations that the Duke has dishonored his daughter. When the jester turns his razor wit toward Monterone, he is cursed by the old man for making light of a father’s grief. Rigoletto, himself a father, though he has concealed that fact from the court, is frightened by the curse.

On his way home, Rigoletto encounters the assassin Sparafucile, who offers his services. The jester sends him away. When he arrives home, his daughter Gilda asks him to tell her of her mother, who died when the girl was a baby. He responds that she, Gilda, is the only joy left in his life, and insists that for her own protection, she must never leave the house. She does not admit that, at church, she has met and become attracted to an unknown young man (the Duke in disguise).

In Rigoletto’s absence, the Duke and Gilda meet. They pledge their love, and before leaving, he gives her his supposed name. Gilda is overjoyed, but her bliss is short-lived, for Ceprano and the courtiers have come to abduct her, believing that she is Rigoletto’s mistress. Rigoletto himself is deceived into assisting the conspirators. Only upon hearing his daughter’s screams does he realize that Monterone’s curse is taking effect.

ACT 2The Duke, who was unaware of the conspirators’ plan, laments Gilda’s disappearance. The courtiers arrive to tell him that they have seized Rigoletto’s “mistress.” Immediately realizing who she must be, the Duke rushes to be with her. Rigoletto enters,

in search of Gilda. He pleads for her safe release, but it is too late: the Duke has had his way. Rigoletto swears vengeance, despite Gilda’s pleas for mercy for the man she loves.

ACT 3Without Gilda’s knowledge, Rigoletto has hired Sparafucile to murder the Duke. The assassin’s sister Maddalena will lure the Duke with a promise of a liaison, but he will fi nd only death. Rigoletto himself will dispose of the body. The jester, however, remains concerned about his daughter’s infatuation with the Duke. Hoping to end her affection, he forces her to watch through the window as her lover makes advances to Maddalena, using many of the same sweet phrases he had previously spoken to Gilda. Then Rigoletto sends the girl away.

As the evening passes, events take an unexpected turn. Maddalena, taking pity on the Duke, persuades her brother to spare the intended victim, and to kill someone else instead. Gilda returns in Rigoletto’s absence, vowing to save her lover by becoming a victim in his place. It is she who is attacked and delivered in a sack to Rigoletto, who exults, imagining that his enemy is dead. Suddenly, hearing the Duke’s voice in the distance, the jester opens the sack. Gilda, begging his forgiveness, dies in his arms. Monterone’s curse had been fulfi lled.

BY BETSY SCHWARMSYNOPSISR I G O L E T T O

SETTING • 15TH CENTURY MANTUA IN NORTHERN ITALY

4 • R I G O L E T T O

No fan of the performing arts is at all likely to have entirely avoided the tales of Victor Hugo (1802 – 1885). From

Les Miserables to The Hunchback of Notre Dame to Le roi s’amuse (The King’s Diversions), we’ve hear the stories. If the title of the last of those three seems at fi rst unfamiliar, give it a new title. In the care of Giuseppe Verdi (1813 – 1901), as Rigoletto, it, too, becomes a known quantity: the court jester who tolerates his licentious employer’s affairs until that employer’s roving eye falls upon the jester’s own daughter with tragic results. Whether it is presented as Hugo’s play or Verdi’s opera, in either case, it makes for high drama.

In both cases, however, it was “high drama” that attracted negative attention from authorities. Both Hugo, whose play premiered in 1832, and Verdi, with the opera nearly two decades later, found that censors would not forgive stage entertainment that offered negative portrayals of monarchs. Such tales were imagined as subversive for their potential of instilling distrust amongst the populace. Hugo’s play was banned from the stage after its fi rst performance; Verdi only came to know it in print.

Verdi’s own adventure with censors long delayed the opera’s premiere, as authorities demanded repeated changes in the libretto. Rigoletto would not reach the public until March 11, 1851, at Venice’s La Fenice Opera House. At that point, it seemed to inspire no revolutions of a political nature, though it was certainly revolutionary in artistic terms. Here was an opera of unrestrained emotions and vivid characterizations, in both cases to greater extremes than most operas that had preceded it, even those by Verdi himself.

Musically speaking, the composer goes far to let the notes on the page color the moods on the stage. Of the three principal characters, the fi rst we meet is the Duke, whose music is light as air; here, it tells us, is a man who lives for pleasure. By contrast, young Gilda is his very antithesis, with music that is largely gentle refl ection. As for Rigoletto himself, despite working as a court jester, he is far from a cheerful soul. His music is weighty and declamatory, the orchestra further reinforcing the heft that comes with the rich baritone range.

Having so skillfully painted individual characters, Verdi was

no less attentive to the craft of writing for ensembles. His Act Three quartet for the Duke, Gilda, Rigoletto, and tavern girl Maddalena brings home the fact that four different points of view are being expressed. Ever his amorous self, the Duke’s music is buoyantly concerned with nothing but his latest conquest. Maddalena, a practical woman who is an insider to the plot against the Duke’s life, is able to laugh off his attentions, for she knows his game and anticipates its results. For Gilda, there is no laughter, only heart-broken gasps at her beloved’s treachery. Rigoletto, for his part, is given phrases that might comfort her, were they not interspersed with dark vows of vengeance. It might be puzzling for a listener to sort out all these views passing by simultaneously, had Verdi not written each character’s music as distinctly refl ective of that person’s emotional state.

It is a story of such powerful dramatic possibilities that any inspired opera composer would have seen its stage potential. Giacomo Puccini (1858-1924) could have made much of it, had Verdi not beaten him to it. In fact, Puccini was known to occasionally set as opera a story previously used by another composer. That he did not do so in this case may prove his high opinion of Verdi’s effort, that it was something that could not be bettered. Whether one comes to Rigoletto as an old favorite opera to be experienced anew or as a fi rst time plunge into operatic realms, in either case, it is a work that is unlikely to disappoint. Here, Verdi provided some of his very best music. All we as listeners need to do is bring our ears and our attention.

BETSY SCHWARM IS THE AUTHOR OF OPERATIC INSIGHTS.

VICTOR HUGO GUISEPPE VERDI

BOTH HUGO... AND VERDI FOUND THAT CENSORSWOULD NOT FORGIVE STAGE ENTERTAINMENT THAT OFFERED

NEGATIVE PORTRAYALS OF MONARCHS.

UNDER THE SURFACE OF RIGOLETTOBY BETSY SCHWARM

R I G O L E T T O • 5

John Baril, Chorus Master (Opera Colorado Debut: Lucia di Lammermoor, 2003)John Baril conducted the 2012 Opera Colorado production of The Marriage of Figaro having led the student matinee of The Barber of Seville in 2010.   As long-time Music Director of Central City Opera he has conducted Die Sieben Todsuenden, Les Mamelles de Tiresias, Gianni Schicchi, Three Decembers,

Lucia di Lammermoor, West Side Story, Cendrillon, Il barbiere di Siviglia, Madama Butterfl y, among many others, and will lead Dead Man Walking this summer. Recent engagements include Cavalleria Rusticana/Pagliacci and Tosca with Opera Delaware, Don Giovanniwith Nashville Opera and Carmen with Nevada Opera.

Rene Barbera, The Duke of Mantua (Opera Colorado Debut)Tenor René Barbera, a graduate of Lyric Opera of Chicago’s Patick G. and Shirley W. Ryan Opera Center, has swiftly established himself as a young artist on the rise. At Placido Domingo’s Operalia 2011 in Moscow, he was awarded First Prize for Opera, First Prize for Zarzuela and the Audience Prize. He is the fi rst artist to be the sole

recipient of all three awards since the competition began in 1993. Barbera began the 2013-14 season as the tenor soloist in the Verdi Requiem with the Melbourne Philharmonicand later with the Seattle Symphony. He makes two major debuts this season; Opéra National de Paris as Arturo in I puritani and Teatro di San Carlo in Naples as Count Almaviva in Il barbiere di Siviglia. Barbera fi nishes the season as Nemorino in L’elisir d’amore with the Austin Lyric Opera and Opera Theatre of St. Louis. In the summer of 2013, he made his Santa Fe Opera debut as Rodrigo in Rossini’s La donna del lago.

Rachele Gilmore, Gilda(Opera Colorado Debut)Rachele Gilmore’s 2013-2014 engagements include the title role in Lucia di Lammermoor for her debut at Opéra de Lille; La Monnaie in Brussels for Ophélie in Hamlet; Olympia in Les Contes d’Hoffmann with the Bayerische Staatsoper; Gilda with Opera Colorado; and a return to the Glimmerglass Festival, as Zerbinetta

in Ariadne auf Naxos. Future seasons include performances with Opera Omaha, the Los Angeles Philharmonic, the BBC Symphony Orchestra, Festival d’Aix-en-Provence and NCPA Beijing. The 2012-2013 season brought Ms. Gilmore’s role debut as the Queen of the Night in Opera Philadelphia’s production of Die Zauberfl öte

and highly acclaimed performances as Amina in La Sonnambulawith Florida Grand Opera. Other recent performances include a debut with Teatro alla Scala, as Olympia in Robert Carsen’s production of Les Contes d’Hoffmann; Blonde in Die Entführung aus dem Serail with Grand Théâtre Genève; the roles of Das Feuer and Die Nachtigall in L’Enfant et les Sortileges with the Bayerische Staatsoper;Cunegonde in Candide with Portland Opera; Elvira in Bellini’s I Puritani; Gilda in Rigoletto with Michigan Opera Theater; a “show-stopping” [Classical Source] debut with the Metropolitan Opera, in the role of Olympia in Les Contes d’Hoffmann.

Jared Guest, Marullo(Opera Colorado Debut:Romeo and Juliet, 2013)Jared Guest received his Bachelor of Music degree in Voice Performance from Florida State University and his Master of Music degree in Voice Performance and Opera from the University of Houston’s Moores School of Music. He has performed in a wide range of operas such as Il Barbiere di Siviglia,

Der Rosenkavalier, Falstaff, Amelia, Il Postino, Der Zauberfl öte, La Vie Parisienne, Don Giovanni, Tosca and Carmen.  In his fi rst year as an Opera Colorado Young Artist, Guest performed the role of Grégorio in the company’s production of Gounod’s Romeo and Juliet with the main stage cast and the role of Frère Laurant for the student matinee. As a 2014 Opera Colorado Young Artist, Jared sings the role of Escamillo in the student matinee of Carmen, and in the company’s touring productions he will perform Mercutio in Romeo and Juliet and Figaro in The Barber of Seville.

Gordon Hawkins, Rigoletto (Opera Colorado Debut)Gordon Hawkins is critically acclaimed throughout the world for his in-depth interpretations and luxuriant baritone voice. Recent engagements include Alberich in Der Ring des Nibelungen at the San Francisco Opera, Deutsche Oper Berlin, and Teatro de la Maestranza in Seville;  Der Freischütz and Alberich in  Das Rheingold  at Teatro de la

Maestranza in Seville; Telramund in  Lohengrin at Deutsche Oper Berlin; Renato in Un Ballo in Maschera at the New Orleans Opera; Crown in Porgy and Bess at Cincinnati Opera; Amonasro in Aida at Lyric Opera of Chicago, Michigan Opera Theatre, and Cincinnati Opera; and Scarpia in Tosca with Arizona Opera. Hawkins was a winner of the Metropolitan Opera National Council Auditions, the Luciano Pavarotti International Vocal Competition and was awarded the Washington National Opera’s 2006 Artist of the Year Award.

THE ARTISTS

6 • R I G O L E T T O

Antoine Hodge, A Herald (Opera Colorado Debut:Les Contes d’Hoffmann, 2009)Antoine Hodge, bass-baritone, began the 2013-14 season as soloist in Liza Lehmann’s In A Persian Garden at the Broadway Music School. He continues his work with Central City Opera as a member of their Ensemble Artists. Past roles include Colline in Puccini’s La bohème, Betto/Amantio di Nicolao in

Gianni Schicchi, the Master of Ceremonies in Massenet’s Cendrillon, Mr. Page in The Merry Wives of Windsor, Mr. Gobineau in The Medium, Yundt in Curtis Bryant’s The Anarchists, Don Bartolo in Le nozze di Figaro, as well as a host of comprimario roles on professional stages in Colorado and Georgia. Recent engagements include his debut and return to Opera Fort Collins in Amahl and the Night Visitors, and a company debut with Boulder Opera Company as Don Magnifi co in La Cenerentola. Other engagements for 2013-14 season include a debut appearance as Bass Soloist with Greeley Philharmonic in Mozart’s Requiem and Bass Soloist with the Chamber Orchestra of the Springs in Beethoven’s Symphony No. 9.

Colleen Jackson,The Countess Ceprano(Opera Colorado Debut)Colleen Jackson received her Bachelor of Music in Voice Performance from Florida State University. A recent graduate of the University of Northern Colorado’s Master of Music program, Jackson performed the roles of Mrs. Nordstrom in  A Little Night Music, Donna Anna in  Don Giovanni and

Fiordiligi in Così fan tutte with the Greeley Philharmonic Orchestra. In 2013 she sang her debut of Violetta in Verdi’s La Traviata as an alumna guest artist with UNC. Most recently, Jackson made her professional operatic debut with Opera Fort Collins in the title role of Douglas Moore’s  The Ballad of Baby Doe. As a 2014 Opera Colorado Young Artist, Jackson will sing the roles of Juliet and Berta in the company’s touring productions of Romeo and Juliet and The Barber of Seville. In the student matinee of Carmen, she will sing the role of Michaela.

Dana Beth Miller, Maddalena (Opera Colorado Debut:Rusalka, 2011)Opera Colorado is pleased to welcome Dana Beth Miller back to Denver after her stellar performance in our 2011 production of Rusalka. Miller is rapidly establishing herself as one of the most promising and exciting dramatic mezzo-sopranos on the stage today. She has been engaged by the leading opera

houses around the world including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Deutsche Oper Berlin,

New York City Opera, Seattle Opera, Boston Lyric Opera, Dallas Opera, Florida Grand Opera, Austin Lyric Opera and Cincinnati Opera. Recent engagements include Amneris in Aida with Arizona Opera and Tulsa Opera, Maddalena in Rigoletto with Florida Grand Opera, Carmen with Boston Lyric Opera, Mary in Der Fliegende Holländer with the Berlin Philharmonic, Santuzza in Cavalleria Rusticana with Edmonton Opera, and Erda in both Das Rheingoldand Siegfried, Dame Quickly in Falstaff and Ulrica in Un Ballo in Maschera with Deutsche Oper Berlin.

Louise Rogan, Giovanna &A Page (Opera Colorado Debut)Louise Rogan received her Diploma in Vocal and Opera Studies from the Royal Northern College of Music in 2009 and a Bachelor of Music degree from the Chicago College of Performing Arts. In 2013, she graduated from the Professional Diploma in Opera program at the Chicago College of Performing Arts. At Chicago College

of Performing Arts she sang Pamela in New York Stories, Third Lady in Die Zauberfl öte and the title role in the Chicago premiere of Amelia by Daron Hagen. As a member of the Chicago Opera Theater Young Artist Program, she performed the roles of Second Lady in  Die Zauberfl öte and  Masha in  Moscow Cheryomushki. Rogan won the Sixth Annual Elgin Opera Vocal Competition in 2012. As a 2014 Opera Colorado Young Artist, she will perform the title role in the student matinee production of Carmen, Stephano/Gertrude in Romeo and Juliet and Rosina in The Barber of Sevillefor the touring productions.

Benjamin Sieverding, Count Ceprano (Opera Colorado Debut)Originally from Sioux Falls, South Dakota, Benjamin Sieverding recently completed his post-graduate studies in Vocal Performance at the University of Michigan, where he also received his Master of Music. In 2012, he won the Nebraska District and was an Upper Midwest Region fi nalist of the Metropolitan National Council

Auditions. His most recent operatic credits with University of Michigan Opera Theater include  The Rape of Lucretia,  Don Giovanni, Così fan tutte, The Rake’s Progress and Falstaff. In 2011, he was Zuniga in Carmen with Arbor Opera Theater and Otto in Jukka Linkola’s world premiere of Rockland with Pine Mountain Music Festival. In summer 2013, he joined The Santa Fe Opera as an apprentice artist, singing the world premiere of Theodore Morrison’s Ocsar. As an Opera Colorado Young Artist, he will sing the roles of Capulet/Tybalt in Romeo and Juliet and Bartolo in The Barber of Seville for the touring productions. He will sing the role of Zuniga in both the mainstage and student matinee performances of Carmen.

THE ARTISTS

R I G O L E T T O • 7

Brett Sprague, Borsa(Opera Colorado Debut)Originally from Lakewood, WA, Brett Sprague holds a Bachelor’s degree in Vocal Performance from Chapman University and received his Master’s degree in Classical Voice from the Manhattan School of Music in 2012. Brett’s past credits include  Peter Grimes with Chautauqua Opera,  Don Pasquale with Amore Opera, The Most

Happy Fella with Dicapo Opera, Die Zauberfl öte with New York Lyric Opera Theatre, The Ghosts of Versailles, Così fan tutte, Thaїs and  La Vida Breve with the Manhattan School of Music’s Opera Theatre,  Lucia di Lammermoor and Falstaff with MSM’s Opera Repertory Ensemble and L’elisir d’amore with Tuscia Opera Festival. As a member of the 2014 Opera Colorado Young Artists, Sprague will sing the roles of Almaviva in The Barber of Seville and Romeo in Romeo and Juliet for the touring productions. In the student matinee of Carmen, he will sing the role of Don José.

Stefan Szkafarowsky, Count Monterone and Sparafucile(Opera Colorado Debut: Rusalka, 2011)As one of America’s leading artists, Bass Stefan Szkafarowsky is highly sought after by opera companies and orchestras in this country and abroad. His recent engagements include a return to the Metropolitan Opera to perform the Bonze in Madama Butterfl y, as well as St. Nicholas Mass at Lincoln

Center. He then performed Commendatore in Don Giovanni  and Prince Gremin in Eugene Onegin  for Des Moines Opera, Uberto in  La Serva Padrona  at the Macau International Music Festival, the Bonze in Madama Butterfl y for Los Angeles Opera, Sacristan for Pensacola Opera and Old Hebrew in Samson et Dalila  at Savonlinna Opera Festival. Upcoming engagements include a reprisal of his role of the Bonze at the Met, Zaccaria in Nabucco for Lviv Opera House. He has worked under the batons of Plácido Domingo, Michael Lankaster, Mstislav Rostrapovich, Leonard Slatkin and Michael Tilson Thomas. Szkafarowsky is a recipient of grants from the Sullivan Foundation and the Tito Gobbi Award from the Rosa Ponselle Foundation. He is also a regional winner of the Metropolitan Opera Auditions.

Donald Edmund Thomas, Lighting Design(Opera Colorado Debut)Donald Thomas is pleased to be working with Opera Colorado. His recent productions include The Flying Dutchmanfor Michigan Opera Theatre, where he designed I Pagliacci, Tosca, Rigoletto, Le Nozze di Figaro, Il trovatore, Salome and Roméo et Juliette  in previous seasons. He also designed the world premiere

of David DiChiera’s Cyrano for MOT, and subsequent productions for Opera Company of Philadelphia and Florida Grand Opera. Other recent designs include Don Giovanni for Washington National Opera at the Kennedy Center, and Die Zauberfl ote and La Sonnambula for Florida Grand Opera. For Seattle Opera he designed La Fanciulla del West, Manon Lescaut and I Pagliacci. Thomas also works extensively in theater, having designed Alcazar de Paris on Broadway, a national tour of Fiddler on the Roof, A Moon for the Misbegotten for American Repertory Theatre and the musical Annie for the Maltz-Jupiter Theatre in Florida. Upcoming productions include a new play, Tryst, for Palm Beach Drama Works, and a staged concert version of Mendelsohn’s A Midsummer Night’s Dream for the Baltimore Symphony Orchestra, as well as productions of Madama Butterfl y and The Barber of Seville. Thomas is a graduate of the Yale School of Drama.

Bernard Uzan, Stage Director (Opera Colorado Debut:Madama Butterfl y, 2000)Opera Colorado is pleased to welcome Bernard Uzan back to Denver after directing the 2000 production of  Madama Butterfl y. Uzan’s extensive background in the performing arts includes achievement as a general director, artistic director, stage director, artist manager, set designer, librettist,

actor and published novelist. As a stage director and producer, his 375 productions have appeared on the stages of more than 100 opera companies throughout the world. In the 2012-2013 season, he directed Suor Angelica and La Voix Humaine for Seattle Opera, a new production of Carmen for Theatre Erfurt in Germany, a new production of The Flying Dutchman for Lyric Opera of Kansas City, a new production of Les Pêcheurs des perles for Opera Carolina, La Bohème for Lyric Opera Baltimore, Tosca for Arizona Opera, and Faust for Austin Lyric Opera. Future engagements include a return to Germany for Werther and Rigoletto, as well as new productions of Nabucco and Hamlet.

Leonardo Vordoni, Conductor (Opera Colorado Debut:Il Barbiere de Siviglia, 2010)Opera Colorado is pleased to welcome Leonardo Vordoni back to Denver after conducting the 2010 production of  Il Barbiere di Siviglia. This season includes debuts with the Michigan Opera Theatre in La Traviata, Opera Omaha in  La Cenerentola and the Opéra National de Bordeaux in

Donizetti’s  Anna Bolena. Future engagements include returns to Minnesota Opera for L’Elisir d’Amore by Donizetti and to Michigan Opera Theatre, and a debut with Lyric Opera of Kansas City in L’Italiana in Algeri. Past engagements include Il Barbiere di Siviglia with Houston Grand Opera, Lucia di Lammermoor with Minnesota Opera, and Rossini’s Mosè in Egitto with Chicago Opera Theatre. Vordoni has given and continues to give master classes in Italian repertoire for Young Artist Programs, universities and schools of music across the United States.

THE ARTISTS

8 • R I G O L E T T O

ORCHESTRAVIOLIN Takanori Sugishita,

concertmasterRene Knetsch,

principal second violinNatasha ColkettAngela DombrowskiLynne GlaeskeMargaret GutierrezDebra HollandChris JusellAnnamaria KaracsonCyndi MancinelliDan MurphyBrett OmaraSusie PeekIngrid PeoriaGyongyi PetheoVeronica PigeonLeslie SawyerRobyn Sosa

VIOLAJeanne Chin, principalBrian CookMatthew Dane Erika Eckert Sarah Richardson Lora Stevens

CELLOJeff Watson, principalCedra KuehnEvan OrmanDavid Short Elle Wells Carole Whitney

BASSDavid Crowe, principalTyler HonselJeremy NicholasMatthew Pennington

FLUTESusan Townsend, principalElizabeth Sadilek

OBOEMax Soto, principalSusanne Sawchuk

CLARINETMichelle Orman, principalHeidi Mendenhall

BASSOONKim Peoria, principalKaori Uno

HORNMichael Yopp, principalDevon Park Jason JohnstonMarian Hesse

TRUMPETBrian Brown, principalSteve Kilburn

TROMBONEOwen Homayoun, principalBill Stanley Jeremy Van Hoy

TUBAMichael Allen, principal

TIMPANIPeter Cooper, principal

PERCUSSIONMark Foster, principal

OPERA COLORADO CHORUS TENORSPatrick McAleerDavid EllwoodEvan GlaserGeorge LemmonJason ParfenoffPark Wm. Showalter Norman Spivy Joseph TaczakSteve Walz Keith Williamson

BARITONESJohn Adams Shane Delavan Michele Di NuovoJamie HalladayAntoine HodgeTony LondonBill LeePatrick MaschkaNicholas Navarre

PRODUCTION STAFFMUSIC STAFFJohn Baril, Chorus MasterSteven Aguilo-Arbues,

Coach/AccompanistKim Peoria,

Orchestra Personnel ManagerIngrid Peoria, Orchestra Librarian

PRODUCTION STAFFKatie Preissner, Production/Stage ManagerJordan Braun,

Assistant Stage ManagerSarah Johnson, Assistant Stage ManagerDaniel Miller, Assistant DirectorJeremy Sortore, Title CoordinatorBeth Nielsen, Title OperatorPark Wm. Showalter, Chorus LiaisonStan Anderson, Supernumerary Captain

Brian Greffe, MD, Company PhysicianBuzz Reifman, NPPA, Company Otolaryngologist

TECHNICAL STAFFDennis Watson, Head CarpenterDon Watson, Shop/Production CarpenterDick Watson, Assistant CarpenterJeff Reidel, Head FlymanDavid Arellano, Head ElectricianChris Green, Light Board OperatorCharlie Wilson, Assistant ElectricianPatrick Howard, Assistant Lighting DesignerBill Hansen, Head PropsJeff Greenberg, Assistant PropsCharles Polich, Head SoundPaul Behrhorst, Purchasing Agent

ELLIE CAULKINSOPERA HOUSE CREWAl Price, House PropDave Wilson, House ElectricianDave Lambert, House CarpenterMichael Cousins, House Sound

COSTUMESAnn Piano, Costume DirectorAlison Milan,

Shop Manager and Wardrobe Head

SHOP ASSISTANTSMeredith Fogg Barbara PianoElizabeth C. Porter

DRESSERSKevin BrainerdKaren Billingsley Lisa Ray Borgmann Brad DavisSara Lynn Hildebrand Teresia LarsenElizabeth C. PorterAnnabel Reader

VOLUNTEER DRESSERSLeslie CadyKathy HeiderJan HeimerPat SmithBarbara Wilder

WIGS AND MAKEUPSarah Opstad, Associate Wig and Makeup Coordinator ARTIST HOSTSHost Chairmen: Merrill ShieldsDirk and Joyce deRoosRobert KahnJeff BrownHeather MacKinnonPam and Mo MathewsKevin O’ConnorMarilyn OlenAstrid StocksCarol Whitley

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The host committee serves as a welcoming party to artists, directors and conductors, and provides support to artists during

their stay in Denver. Each host greets their assigned artist at the airport, transports them to their temporary residence and delivers a bag of goodies to help them through their fi rst night in Denver. Hosts also serve as a resource, occasionally transporting artists to the grocery store or other necessary errands. One family has taken on hosting as a family affair. Maradith and Rusty Wilkins, their daughter Wendy Cogdal and granddaughter Lillian serve as hosts. They have enjoyed meeting some of the great artists performing with Opera Colorado. “The host program is a great way to make a personal connection with the singers, conductors and directors,” says Wendy. “We have hosted a variety of artists throughout the years. Since my children were young when we started hosting, it helped them develop their love of opera and music. Lillian (19)

regularly attends opera with us, and Dillion (a college student studying jazz percussion) attends as well.”

Hosts enjoy the experience of welcoming artists to Denver and contributing an important service to Opera Colorado. In many cases, they form lasting friendships. “The fi rst artist mom hosted was Beth Clayton when she came in 2005 for her role in Rigolettoas Maddalena,” explains Wendy. “We hosted Beth again when she returned for her role as Carmen in 2005 and as Paula in Florencia en el Amazonas in 2012. We all formed an immediate friendship with Beth. We continue to stay in contact with her and have traveled to different cities to see her perform. We enjoy hosting because we can meet people that we might not have otherwise met, form long-lasting relationships and hear stories about their travels and lives in the opera world.”

HOST AN ARTISTThe Artist Host Committee, chaired by Merrill Shields

HOSTING AN ARTIST PROVIDES A GREAT OPPORTUNITY TO PARTICIPATE IN OPERA COLORADO.

IF YOU ARE INTERESTED IN JOINING THE ARTIST HOST COMMITTEE

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IMPRESARIO(Special sponsorships aboveannual contribution)The Anschutz FoundationThe Hood-Barrow Foundation

PRESIDENT CIRCLE ($20,000+)The Anschutz FoundationAvenir FoundationBeverly Anderson Nemiro TrustBoettcher FoundationBonfi ls-Stanton FoundationChambers Family FundThe Denver FoundationGalen & Ada Belle Spencer FoundationJan Mayer TrustShamos Family FoundationSidney E. Frank FoundationScientifi c and Cultural Facilities District

DIRECTOR ($10,000+)Cannon Y. and Lyndia K. Harvey Family FoundationCaulkins Family FoundationColorado State Bank and TrustThe Crawley Family FoundationFidelity Investments Charitable Gift FundFaegre Baker DanielsFrederic C. Hamilton Family Foundation

Gates Family FoundationHigbie Family FoundationJess & Rose Kortz and Pearl Rae FoundationKinney Oil CompanyThe Magnolia Hotel* Melvin & Elaine Wolf Foundation, IncMile High United WayMiller Family Foundation FundPinnacle Bancorp, Inc.Profi t Planning GroupTulsa Community FoundationWittow FoundationVirginia W. Hill Foundation

MAESTRO ($5,000+)Ann and Gordon Getty FoundationBank of Oklahoma FoundationCharlotte and Norman Codo TrustThe Curtis Hotel* Denver Lyric Opera GuildECA Foundation, Inc.Faegre Baker Daniels FoundationFairfi eld & Woods, PCFine Arts FoundationThe Four Seasons* The Hunt Family FoundationJeanne Land FoundationLeonard and Alice Perlmutter Charitable FoundationPeak ENT and Voice CenterPrivate Capital Management, Inc.Tepper Family Foundation

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DIVA ($2,500+)The Denver Post CharitiesJones International University Kinder Morgan FoundationThe Schramm FoundationRalph L. and Florence R. Burgess TrustSage Hospitality ResourcesAnonymous (4)

COMPRIMARIO ($1,000)Beaver Creek Resort CompanyDavid B. and Gretchen W. Black Family FoundationThe Deane Family FundThe Dobbins FoundationGriffi n FoundationThe Henry Laird Smith FoundationThe Hood-Barrow FoundationKundinger, Corder & Engle, P.C.Lincoln Financial Foundation, Inc.Priester FoundationSchwab Fund for Charitable GivingUS Contract Sewing* William D. Radichel Foundation

CHORISTER ($500 +)AMG Charitable Gift Foundation

Carson-Pfaffl in Family FoundationThe Garrett Family FoundationM2 Lending Solutions LLCNeiman MarcusNewmont Mining CorporationRose Community FoundationUS Bancorp FoundationAnonymous (1)

FRIEND (100+)American Endowment FoundationBarnes & NobleBell Family FoundationBjork Lindley Little, PCCommunity First FoundationDaniels-Houlton Family FoundationDelta Omicron Fraternity - Zeta Zeta ChapterFirst Data FoundationGill FoundationIBM International FoundationIngrid Fretheim InteriorsLin Lee & AssociatesMontague-Clouse Charitable Giving FundMu Phi EpsilonNelson Family FoundationNetwork For GoodRassman Design*Wednesday Music Party

*Gift In-Kind

ANNUAL CONTRIBUTORS

IN HONOR OF SUZANNE BUCYDr. and Mrs. Frank Sargent Mrs. Nancy H. Schulein

IN HONOR OF GREGORY A. CARPENTERDorothy and Ted HorrellSandra Vinnik

IN HONOR OF ELEANOR N. CAULKINSDr. and Mrs. A. Todd AlijaniJohn and Rosemary AshbyCharitable FundMr. David ChavollaMrs. Marcia D. Strickland

IN MEMORY OF MAUD B. DUKEEllie CaulkinsMrs. Laurie & Mr. Ben Duke III

IN MEMORY OF BYRON E. GRABERBjork Lindley Little, PCDavid & Debra FlitterCalvin M. SeilerJo B. Shannon

IN MEMORY OF EVA & HENRY HURSTProf. and Mrs. Joseph S. SzyliowiczIN LOVING MEMORY OF MY HUSBANDPHILIP ISELYMrs. Philip Isely

IN HONOR OF CHARLES & URSULA KAFADARSherry Berger Ms. Lois B. LondonSandra Vinnik

IN HONOR OFHON. KENNETH & MRS. BARBARA LAFFMs. Diana Terry

IN HONOR OF MRS. CAROLYN T. MCCORMICKMolly BrindleDonna Reed

IN HONOR OF RUTH O’NEALDr. Peter & Mrs. Kathy Van Arsdale

IN MEMORY OF OUR PARENTSPriscilla Brookens

IN HONOR OF ALESSANDRA SCHULEINChristopher Heinrich

IN MEMORY OF JAMES H. SHOREMrs. Christine Shore

IN HONOR OF NORMAN SPIREYDonna Boender

IN MEMORY OF WILLIAM STILES, JR. Mrs. Donna J. Stiles

IN MEMORY OF HAZEL & J.W. TILDENMs. Janice Tilden

IN HONOR OF MR. BYRON WATSONTulsa Community Foundation

IN HONOR OF JAMIE WHITE & ANDYSIROTNAKEllie CaulkinsMerle C. Chambers Mr. and Mrs. Richard L. Robinson

TRIBUTES

FOUNDATIONS, CORPORATIONS AND GOVERNMENTThe Board of Directors of Opera Colorado and the staff wish to acknowledge the extraordinary generosity of the foundations, corporations and government agencies that made contributions in support of our general operating expenses and Education & Community Engagement Programs from January 1, 2013 through January 24, 2014.

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GIVING VOICE TO OPERA!

You’re invited!

Opera on TuesdayApril 1, 2014, 10:30 AM - 1:00 PM

Featuring: DLOG’s Final Competition WinnersPinehurst Country Club, $35.00 Per Person

Lunch and outstanding entertainment

May 6, 2014, 11:30 AM - 1:00 PMFeaturing: University of Northern Colorado Opera Singers

Lakewood Country Club, $30.00 Per PersonLunch and outstanding entertainment

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Regional and National Opera ExcursionsJoin opera lovers to cities with great opera houses!

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Annual Summer PartyJuly 15, 2014

Mount Vernon Country Club

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Denver LyricOpera Guild

28 • O P E R A C O L O R A D O 2 0 1 4

INDIVIDUALSThe Board of Directors of Opera Colorado and the staff express their deepest appreciation to the individuals who have contributed to the Annual Fund. This generosity enables Opera Colorado to continue producing opera of the highest artistic merit and to reach over 35,000 school children and adults each year.

The following list acknowledges individual donors who made gifts to Opera Colorado’s Annual Fund from January 1, 2013 through January 24, 2014.

IMPRESARIO(Special sponsorships above annual contribution)Mr. and Mrs. Kenneth T. BarrowMike and Julie BockEllie CaulkinsMichael Hughes and Karen BrodyMarlis and Shirley SmithPatrick Spieles and Carol McMurry

PRESIDENT CIRCLE($20,000+)Mr. and Mrs. Kenneth T. BarrowSheila BiseniusMike and Julie BockPeyton and Suzanne Dost BucyEllie CaulkinsHugh A. Grant and Merle C. ChambersMary and Thomas ConroyDave and Pam DukeHilja K. HerfurthMr. & Mrs. Jeremy F. KinneyMrs. Jan P. MayerMrs. Nathaniel C. MerrillMs. Muffy Moore and Mr. Al MinierJeff Baldwin and Debra J. PerryMarcia and Richard RobinsonSusan and Jeremy ShamosMerrill Shields and M. Ray ThomassonMarlis and Shirley SmithPatrick Spieles and Carol McMurryAnonymous (1)

DIRECTOR ($10,000+)Mrs. Susan AdamsMr. Bruce AllenAl and Rebecca BatesNoel and Thomas CongdonRobert and Lenore DamrauerJoy and Christopher DinsdaleFrederic and Jane HamiltonMr. and Mrs. C.Y. HarveyHarley and Lorraine HigbieMichael Hughes and Karen BrodyDr. and Mrs. Charles B. KafadarHonorable and Mrs. Kenneth LaffFrank and Virginia LeitzHarold and Ann LoganKalleen & Bob MaloneDr. and Mrs. William N. ManiatisKevin O’Connor and Janet Ellen RaaschAnn and Gerald SaulAlessandra and Ben SchuleinRobert and Elizabeth SwiftBeatrice TaplinMr. and Mrs. Charles I. ThompsonMartha and Will TraceyByron WatsonBritney and Richard WeilHerbert WittowSandy Wolf

MEASTRO ($5,000+)Linda BjellandZe and Dick DeaneDr. Stephen L. DiltsRobert S. GrahamSarah and Christopher HuntCraig N. Johnson and Alicia McCommonsDiana and Mike KinseyMs. Carole LeightVeronica A. McCaffrey and Barbara A. Frank Tom and Mary MeadeRobert R. Montgomery and Nancy HawkinsLeonard and Alice PerlmutterCraig and Maria PonzioMyra and Robert RichDaniel L. RitchieMr. and Mrs. George G. ShawJerry and Debi TepperMr. and Mrs. Burl S. WatsonMrs. Carol C. WhitleyLarry and Brigitte ZimmerAnonymous (1)

DIVA ($2,500+)John E. BarilMr. James L. BerggrenMr. Eric Coomer and Mrs. Amber HessRon CoveyJack Finlaw and Gregory MovesianCeleste Fleming

Terry Frazier and Kathy WellsRobert and Maria JennettJoe and Francine KelsoDr. Kendra KohlhaasCarolyn and Jay McCormickKelly McCourt and Bryan HickelZondra Rae PlussBruce V. Polkowsky and Bill PowellNijole and Walter RasmussenJuan and Alicia Rodriguezhelen Santilli and Lyn BarberKenneth and Mary WillisMaradith and Rusty WilkinsAnonymous (1)

COMPRIMARIO ($1,000)Ed Altman, Jr. and Dr. Dina Brudenell AltmanRobert and Megan ArmstrongWilliam and Elisabeth ArmstrongHartman AxleyJanice BaucumEllen and Donald BauderBrian Bennett and Bev DanielsRobin E. BlackDr. Bill and Betty BuchananLew and Leslie CadyMr. and Mrs. K.W. CalkinsMrs. Sue M. CannonCharles Case and Phillip St. CloudMr. John N. CaulkinsMs. Kathryn CodoJohn and Brian CookAubrey Copeland, MDSteve and Pat CorderKathleen CrapoCarolyn E. DanielsGeorge and Yonnie DikeouRichard T. and Margaret N. DillonMarian DinesEllen and James DonaldsonLois N. EckhoffKaren FukutakiRev. and Mrs. B. J. GeorgeMr. and Mrs. George C. GibsonMark Groshek, MD and Carl Clark, MDSandra S. Hall and Jean A. TutoloSusan and J. Lawrence HamilDeborah Hayes and James L. Martin IIIBeverlee B. Henry and The Hon. Robert P. FullertonRichard G. and Jean L. HigginsDrs. Kathryn Hobbs and Marc CohenMr. William T. HoffmanChristine Hollander and Michael McGeeEileen Honnen McDonaldRuth Hopfenbeck and George Hopfenbeck Jr.Steven and Chryse HutchinsMrs. Philip Isely

Gary and Judith JuddDr. and Mrs. John N. KabalinDr. Lawrence Kim and Nhung VanSally and Jim KneserDagmar KressDr. and Mrs. Jeremy LazarusHon. and Mrs. Carlos F. LuceroPat and Barbara McCelveyJim and Carole McCotterV W McnabPaul and Phyllis MillerDr. Monica I. Minkoff and Mr. Harry M. SiegfriedLynnette MorrisonMr. and Mrs. Chris J. MurphyDr. and Mrs. Calvern E. NarcisiDrs. Sarah and Harold NelsonSusan and Howard NobleCarl PattersonDorothy Pearson Bonnie C. PerkinsEssie PerlmutterChristine and Harry PhillipsBruce Polkowsky and Bill PowellRick Poppe & Jana EdwardsMr. Thomas J. Powers Jr.Charles and Reta RalphKent Rice and Ann CorriganSteven and Joan RingelDonald and Karen RingsbyAyliffe and Fred RisRuth SchoeningDr. and Mrs. Edwin R. SmithRachel Solomon and Jonathan ParrottMary and Russell StewartChristopher Price and S. Edith TaylorThe Tooth FairyJohn TruebloodRichard Tubbs and Marilyn SmithMarta TurnbullDrs. Kathy Kennedy and Ben VernonEd and Patty WahteraEdward WoolmanAnonymous (4)

CHORISTER ($500 +)Tucker and Dan AdamsEric and Kathryn AlbrightRandall AndersonStan and Marianne AndersonDr. and Mrs. Sol H. BassowDr. and Mrs. Henry J. BeckwittMr. and Mrs. Fredric H. BenderCharles E. BerryJoseph and Carolyn BorusMs. Karen M. BruggenthiesSandy and Rogene BuchholzJudy and Duncan BurdickHeather CallahanS. Nelson CammackGeorge M. and Carol G. Canon

ANNUAL CONTRIBUTORS

O P E R A C O L O R A D O 2 0 1 4 • 29

30 • O P E R A C O L O R A D O 2 0 1 4

Mr. and Mrs. Lawrence G. CarpenterMarjorie and Doug CarrigerRonald and Donna CharlinMr. David ClarkeCatherine ColeDonna and Ted ConnollyDr. & Mrs. Robert ContigugliaMary W. CrawleyLisa Crispin and Robert DowningNancy Crow and Mark SkrotzkiMs. Cheryl M. CruickshankDeborah DeegJerri Lynn Modrall and Eric E. DoeringTJ DonahueWalter W. and Maryruth Y. DuncanElizabeth and Matthew DyerCarl and Nan EklundAmy FeasterStacy FischerLarry and Joanne FisherL. Richard and Sigrid Halvorson FreeseRichard and Frances FreyDeborah FriedmanCaleb and Sidney GatesJennifer GarrettDr. and Mrs. Burton GolubDr. Daniel J. GreenholzDr. and Mrs. Frederick L. Grover Sr.Mr. and Mrs. Charles HamlinLee and Margaret HenryDon and Mary HoaglandMs. Laura M. HoffmanGraham and Cathy HollisWhitney and Halle HolmesMichael E. Huotari and Jill R. StewartDr. Jacob G. and Mrs. Sarah F. JacobsonKendor and Paulette JonesFrank and Pauline KempRoberta and Mel KleinHerbert E. and Darlene KressPauline LangsleyAnn and James LehDeanna Rose LeinoJim and Patience Linfi eldPaul and Carol LingenfelterPatty Lorie KupetzJohn Kure and Cheryl SolichTom and Ginnie Maes, The Kanter Kallman FoundationMarjorie J. MarksMarian E. MathesonTherese McCarthyWilliam McConathyRuth Ann McDonaldDr. and Mrs. Hugh J. McGee Jr.Maeve Vickers McGrathJanice McNallyHenry MohrGregory MovesianDr. and Mrs. John Moyer

Drs. Michael and Mary MoynihanMark A. NachtigalRobert NelsonRalph OgdenMr. Steven OkuleyDr. and Mrs. David S. PearlmanAndrew R. PleszkunRobert and Mary QuillinDr. Gregory RobbinsSusan and Paul RobertsJoe RonnenbergMr. Joseph C. RookMr Doug RooneyMr. Allan S. and Judith RosenbaumJane Russell and Bill RussellKaren and Mark SatherJohn Shott and Heidi Munzinger-ShottMs. Nancy SiegelDr. Andrew Sirotnak and Mr. Jamie WhiteDr. Richard StienmierJim and Sue SwansonJim and Kate TaucherCarson Custer TaylorJohn and Sharon TrefnyPaul VoillequeValerie WassillHedy and Michael WeinbergTor and Virginia WestgaardScott and Karen YarberryKen and Charlotte ZiebarthMr. and Mrs. Stephen TrueAnonymous (4)

FRIEND (100+)Norman and Margaret AarestadLora AdamsFrank J. AdlerPaul and Susan AhlquistMarilyn and Jules AmerCatherine H. AndersonOmar AngolaJudith BabcockMary E. BahdeDonald K BainStephen BainMs. Jennifer N. BaterNancy BattanBrian Thomas BeagleMr. Edguardo BelenBarbara BenedictMr. and Mrs. Mitchell Benedict IIIDrs. Tomas and Diane BerlDr. and Mrs. Dell BernsteinArlene BershofJanet BishopLaura BittnerSteve BlattMs. Sandra BonettiKent BorgesLibby BortzRichard J. BottjerStanley and Virginia Boucher

Jeff and Shirley BowenBrewster and Helen BoydE. Candace Boyle and Thomas R. SalasDonald K. BradenMs. Jay BreenWilliam Bradford and Chin TanDarrell Brown and Suzanne McNittPackard BrownLucinda and Edward BryantGordon & Ron ButzRalph CandelariaTeri CarnahanBette and Charles CarcanoBrad Case and William McMechenMolly CastleberryPatricia CaulkinsClare CavanaughProf. Gerald ChapmanRonald CharpentierHenry and Janet ClamanEverett ClarkNathan CliffordEdith ClowRobert I. Cohen and Gloria J. LillyAlan and InHye ComoMr. and Mrs. John P. CongdonMr. Alexander J. Conley and Ms. Alysia D. MarinoKathleen M CookDavid CooperVicki Cowart and Chris HayesJim CraigBrian D. CraneLisa Crispin and Robert DowningSara and Jim CulhaneMargaret H. CunninghamIan CurriganCathy Dal SantoMichael and Bonnie DalkeKaty DanielRonald L. DealPeter and Deedee DeckerRoberta DeppGregory DiamondUrsula and Tom DickensonMarcus & Wendy DivitaMax and Joyce DouglasThomas and Brenda DouglisPeter and Marian DownsMrs. Helen N. DriscollVirgina DuddenMrs. Laurie and Mr. Ben Duke IIIPhilippe and Cynthia DunoyerMr. and Mrs. Wayne D. EckerlingJudie EidsonJoseph ElinoffTed and Vivian Sheldon EpsteinRichard EslingerJudith FahrenkrogMs. Ann B. FawcettMary Lou FeniliCharles and Jill FergusonJanet and Sheldon Fischer

Karin and Karin FischerMr. and Mrs. Robert FollettJacqueline FrischknechSusan C. Frye and Caroline R. FryeMax FurerWilliam GardnerSally GartAlan and Sally GassJennifer Ruth GentryTamara GoldsteinMr. and Mrs. Ricardo GoncalvesDonna GoodLiz Goodman and Robert NaumanKazuo and Drusilla GotowAnthony and Katherine GottliebSusan and John GowenBrian Greffe, MD and Mark Donovan, PhdMartin and Renee GrossGina GuyRegina HackleyJerry Jean HaleHazel E. HanleyLaura HarmacekPatricia and Joseph HarperLynn and Ronald HarringtonMr. Richard H. HartJames and Martha HartmannHal and Jackie HawkeyRichard HaynesMr. Richard W. HealyMr. and Mrs. Phil G. HeinschelPatricia Hill Pascoe Richard and Sandra HiltSarah C. HiteMary Ellen HolmesPhilip HoltJoan and Bill HoultonBarbara HughesDennis HurtPaul W. HustedJohn HynesDaniel IsamanMark E. JacobsBrian and Catherine JanonisMarilyn JensenEric E. JohnsonJames and Jean JohnstonJudy JohnstonDonald and Susan JonesMr. and Mrs. Howard B. JordanCatherine and Larry KaledoKathryn KarfordMrs. Kerstin KarloevPatricia KellyEileen and Walter KintschBonnie KippleKenneth KirklandLoring and Carol KnoblauchLeonard KochMichael KolotyloElmer and Doris KonemanDonna KornfeldRex Kramer and Cindy Crater

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O P E R A C O L O R A D O 2 0 1 4 • 33

Sandy AdamsStan & Marianne AndersonEric BardLaurel BarsaIrene BetinBarbara BowerJeff BrownJoan CamozziJoyce de RoosStephen DiltsPeggy EngelVictor FabrizioTerry FrazierNancy FredricksSigrid FreeseJames HerringerRobert KahnDean & Madge KlassenPaull Kupler

Sally LammersSusi LandersMelinda LeachHeather MacKinnonJoanne MoldowFrank ParceEva PhibbsDonna RiesEllie RobertsRuth SchoeningRon SherbertDean & Syrma SotiriouMary StirlingJenene StookesberryLinda VigorCandice WattsWendy WendellChristel WoodyFrank Zoske

Susan KullmanMr. and Mrs. Maurice A. Larue Jr.Warren and Nancy LawrenceRichard LeamanMr. Bernard Leason and Mrs. Frieda Sanidas LeasonC. Nicholas and Mollie LeeRichard and Melinda LeeCharlie LeightNancy LeonardDaniel LichtinSharon LillisRobert & Gloria Lilly-CohenDon and Ingrid LindemannRandall LivingstonCharles and Gretchen LobitzMs. Lois B. LondonWindham and Anne LoopeskoJohn and Janet MacFarlaneDr. and Mrs. William MaclayHenry MahlmanK. Frederic and Linda MaiCaroline MaldeMelissa MaldeCynthia MancinelliMr. and Mrs. Gilbert Y. MarchandJeff Marshall and Shawn FinneganJohn and Minda MarshallMerrylue MartinPam and Mo MathewsTanya MathewsWilliam MathewsJeanine MatneySandy MazarakisJudith McbrideMary McClanahanMyron McClellan and Lawrence PhillipsZoe McFarlandWilliam and Virginia McGeheeBob and Mereth MeadeDr. and Mrs. Alan MegibowFrank and Patricia MercadoKatherine MillettMr. and Mrs. James MillsJean MilofskyFrend John Miner and Jeff LawheadMr. George MitchellSue and Bill MohrmanMr. and Mrs. Mike MonahanBill MoningerJon and Lynne Montague-ClouseBeverly MooreWarren MorrowMrs. Susan MostowMark and Sally MurrayJohn & Mary MuthW. Peterson and Nancy NelsonRichard L. NielsenKristen NordenholzDr. and Mrs. David A. NorrisMaureen and Benjamin NystuenKent & Ruth ObeeKelli O’Brian

Larry O’DonnellStephanie and Roger OramBonnie M. OrkowRonald Y. OtsukaMr. Ben H. ParkerMargaret and Neil PeckPerry and Virginia PeineDavid and Rhona PesselDennis PetersonSandra PettijohnCollin PitetAndrew R. PleszkunRich and Kim PlumridgeAnn and Jeffrey PontiusMrs. Kathryn L. PrideKatherine RaabeMarcia RagonettiPablo RamosAnn RatajczykT. R. ReidRichard Replin and Elissa SteinJulie ReusserMaxine and Ed RichardGene & Nancy RichardsDonald RichmanJennie RidgleyKaryn K. RiebThomas L RiisRonald and Ann RileySylvia and Byron RileyGregory RobbinsPaula and David RoneyJack and Oonagh RossMary Ann RossElizabeth RumelyPaul RuotoloMs. Suzanne B. RyanJack and Ruth SalterDr. Frank and Mrs. Sherry SargentEleni SarrisYoulon D. SavageMs. Erika L. SchaferPaul ScheeleGayla ScheidSharon SchillereffMr. Henry R. SchmollHarvey and Mary SchuchmanJane Schultz-BurnettBob and Lori SchuylerElizabeth Schwarm-GlesnerJean SeldersFern SeltzerBob and Barbara ShakleeMs. Jo B. ShannonHelen ShrevesMs. Phyllis Shushan and Mr. Carl ShushanMs. Shirley A. SimonsonPatricia SimpsonGary SimsCatherine K. SkokanMichael SnowJennifer SobanetNorman Spivy

Marc and Kathryn SpritzerJames B. SteedLarry and Neslihan StephensWilliam and Donna StilesJenene & James StookesberryBill and Shirley StoutHarold and Shirley SummersDrs. Morris and Ellen SusmanMrs. Mary SymontonRobin and James TaitMr. and Mrs. Martin N. TarabocchiaCheryl TensfedltBarbara ThorngrenLloyd & Barbara Timblin, Jr.Dr. and Ms. James Kennedy ToddGiles D. Toll M.D.Michael and Pegi TouffMary TraboldElizabeth TraceyAlice and Frank TraylorRobert C. TrippLucile TruebloodSusan TuckerJulie Vance

Gretchen Vanderwerf and Gordon JonesSandra VinnikHarry and Terri VoglerMary and Terry VogtBernd WachterNorma and George WagonerShirley WardMs. Carley WarrenMs. Robin Stewart and Mr. Kirk WeberDr. David WedmoreSioux WellsMs. Cia A. WenzelMs. Marilyn L. WheelerAnne WilliamsMs. Beverly WilliamsHilda WingJane WingleRoss Yeoman and Gayler HarfordDr. and Mrs. Raymond YostMs. Phyllis J. YoungDr. Jack and Mrs. Barbara ZableSue and Carl ZimetAnonymous (3)

ANNUAL CONTRIBUTORS

VOLUNTEERS

Every effort has been made to ensure that accuracy of our donor list. However, if your name is incorrectly listed, please accept our sincere apologies and contact Glenda Masters at 303.468.2029. Although space limitations only allow us to list donors whose gifts were $100 and above to the Annual Fund and $500 and above for the 2013 Stories That Sing Campaign, we are deeply grateful for the support of all our dedicated contributors.

STAFF GREG CARPENTER General Director

ADMINISTRATION

Darrel Curtice Director of Finance & Administration Julie Nowasell Staff Accountant

ARTISTIC

Ari Pelto Artistic Advisor

DEVELOPMENT AND MARKETING

Camille Spaccavento Director of External Affairs & Marketing Joyce de Roos Volunteer Coordinator Molly Epstein Group Sales Associate Nicholas Geyer Annual Fund and Marketing Assistant Luke Lindholm Patron Services Manager Glenda Masters Annual Fund Manager Ed Mickens Associate Patron Services Manager Rachel Perez Marketing Manager Resnicow Schroeder Assoc Public Relations

EDUCATION

Cherity Koepke Director of Education & Community Engagement Julie Nowasell Education Assistant Betsy Schwarm Pre-Performance Lecturer Elena Kalahar Intern Alexandra Kotis Intern

PRODUCTION

Katie Preissner Production Manager Ann Piano Costume Director

YOUNG ARTISTS PROGRAM

Cherity Koepke Director Taylor Baldwin Accompanist Colleen Jackson Soprano Louise Rogan Mezzo-soprano Brett Sprague Tenor Jared Guest Baritone Benjamin Sieverding Bass

DIRECTORY TICKETS OperaColorado.org 303.468.2030

BOX OFFICE LOCATION 695 S. Colorado Blvd, Suite 20 Denver, CO 80246

ADMINISTRATIVE OFFICES 303.778.1500 695 S. Colorado Blvd, Suite 20 Denver, CO 80246

ELLIE CAULKINS OPERA HOUSE 1106 14th Street (14th and Curtis Street)

The Ellie Caulkins Opera House is part of the Denver Performing Arts Complex,

owned and operated by the City and County of Denver, Division of Arts & Venues

LOST AND FOUND 720.865.4220

DINING AT DPAC Kevin Taylor’s at the Opera House 303.640.1012

Limelight Supper Club 720.227.9984

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BOARDOFFICERS

Michael HughesChairman

Marcia RobinsonPresident

Kenneth BarrowChair Emeritus

Martha TraceyTreasurer

Carol Crossin WhitleySecretary and Vice President

Dirk deRoosVice President

DIRECTORS

Bruce Allen

Sheila Bisenius

Michael Bock

Suzanne Dost Bucy

Ellie CaulkinsLifetime Honorary Chair

Mary Conroy

Jack Finlaw

Craig Johnson

Hon. Kenneth M. Laff

William Maniatis

Muffy Moore

Kevin D. O’Connor

Kent RiceEx Offi cio

Gerald Saul

Merrill Shields

Shirley Smith

Byron Watson

Britney Weil

Larry Zimmer

HONORARY DIRECTORS

Susan Adams

Jill Irvine Crow

Nellie Mae Duman

Hugh Grant

Jeremy Kinney

Loring W. KnoblauchLifetime Honorary Director

Pamela Merrill

Jeremy Shamos

Susan Shamos

Ovation! Magazine

and In-Theatre programs

are produced

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by The Publishing House.

Angie Flachman-JohnsonPublisher

Wilbur E. FlachmanPresident & Founder

Annette AllenArt Director

Production Coordinator

For advertising information303-428-9529

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34 • O P E R A C O L O R A D O 2 0 1 4

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