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Stories That Sing.
OVATION!NEWS, EVENTS AND ACTIVITIES OF OPERA COLORADO | SUMMER 2014
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O V A T I O N ! s u m m e r 2 0 1 4
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Kelly Dean Hanson of the Boulder Daily Camera said, “If Opera Colorado wanted to give its patrons a healthy dose of confi dence in its recent reorganization and revitalization campaign, the outstanding production of Verdi’s Rigoletto that opened Saturday night in Denver should have accomplished it.” Over the past 16 months I have been honored to work with our generous and dedicated board, staff and volunteers to set in motion the administrative changes necessary to create a fi rm fi nancial foundation from which Opera Colorado can envision a thrilling artistic future. I am deeply gratifi ed that the work we have done and the generosity shown by so many has been recognized and celebrated.
That is why it gives me great pleasure to offer two seasons of exciting programming. Madama Butterfl y, The Magic Flute, Aida and The Scarlet Letter not only represent 225 years of opera history, they represent the full spectrum of human emotion. From the depths of shame, discrimination and grief to the heights of joy, love and redemption, each opera reveals the strength behind its leading female characters. Cio-Cio San, Pamina, Aida and Hester are all faced with extraordinary challenges and in turn each make bold decisions – for Cio-Cio San the choice of an honorable death over a life of shame, for Pamina the path of goodness and light over darkness and evil, for Aida, loyalty to king and country and the ultimate sacrifi ce for love, and for Hester Prynne, holding fi rm to love in the face of ridicule and shame.
During our 2013 Stories That Sing special fundraising campaign many of our loyal supporters dug a little deeper into their wallets to help, some made contributions for the fi rst time, while others renewed their support after a few years of hiatus. Regardless of their motivations, the generosity of so many was the key to fi nancially revitalizing Opera Colorado. In order to continue on our path of artistic excellence, fi nancial success and community engagement, we need your renewed support and advocacy.
In spite of our recent challenges and successes, there are still many people in our great city who have not heard our story or experienced the magic of our performances. If you fi t into this category, I hope you will take this opportunity to join our family of season ticket holders and contributors. If you are already a patron, I hope you will encourage your friends to experience the wonders of the operatic art form presented by Opera Colorado. I am confi dent your friends will thank you!
Greg CarpenterGeneral Director
Two great seasons...Four extraordinary stories.A M E S S A G E F R O M T H E G E N E R A L D I R E C T O R
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Puccini’s Madama Butterfl y is one of those few operas in the repertoire which presents a perfect blend of extraordinary music and intense drama. While the overarching theme of culture clash is one that resonates just as strongly today as it did at the turn of the 20th century, I feel that keeping the production fi rmly set in the time period the composer intended is the best backdrop to bring out the diverse themes represented in this opera. The rigid hierarchy and moral constructs of Samarai culture coming into direct confl ict with the quickly encroaching American westernization of Japan, brings to the forefront the dichotomy of Japan’s fading Samarai traditions and the vulgarity of America’s western infl uence, with the innocent Cio-Cio San (Madame Butterfl y) caught between two worlds.
Director Keturah Stickann has spent time in Japan and has studied Japanese culture. Through her knowledge of history and movement, Keturah will direct a production that will be both beautiful and heart wrenchingly dramatic. – Greg Carpenter, General Director
We’ve all heard the story of Madame Butterfl y. She is the tragic victim to Benjamin Franklin Pinkerton’s archetypal ugly American, and the story still speaks to us today not only because it is a riveting tale of heartbreak and broken promises, emotions we all feel to some degree, but because the clashing of dissonant cultures is timeless – especially in this ever-shrinking world, wherein our communications (and therefore opportunity for MIScommuncation) have increased many times over.
We can trace the roots of this particular tale of Cio-Cio San, Suzuki, Pinkerton and Sharpless to John Luther Long, an American lawyer and writer who is said to have based his short story, “Madame Butterfl y,” on the recollections of his sister and her Methodist missionary husband, who traveled through Japan at the turn of the century, hearing stories such as this as they went. The story is brutal. Pinkerton is manipulative and rude – treating his young bride as a toy to be discarded, leaving her disowned, abandoned and wholly pregnant in his wake. His new “American wife” is equally disparaging, referring to Butterfl y as a “plaything” when she meets her in the consul’s offi ce. The Japanese stereotypes are abundant in the story, but the ugly American stereotypes are in full force as well.
Puccini’s Madama Butterfl y is softer than the original (softer, even, than his own original, as he rewrote much of it after its premiere). Pinkerton admits regret when he comes back, Kate Pinkerton is not as
Fidelity and honor –Cultural dissonance and tragedy.T H O U G H T S O N M A D A M A B U T T E R F L Y
Please see Madama Butterfl y on page 22
B Y K E T U R A H S T I C K A N N , D I R E C T O R
...Cio-Cio San is no longer a caricature of the gentle, confused foreigner, but a strong – if misguided – woman in her own right.
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s u m m e r 2 0 1 4 O V A T I O N !
9Denver CO Opera Magazine Ad.indd 4 11/28/12 10:48 AM
Did you know that ticket sales account for only 31% of Opera Colorado’s annual income? If ticket sales were the only source of income, our productions and the patron experience would be strikingly different. Ticket prices would likely double yet performances would consist of smaller, more affordable productions. Presenting world-class artists like Gordon Hawkins and Sandra Piques Eddy, all of whom masterfully graced the stage as part of Opera Colorado’s 2014 season, would happen only on rare occasions.
So where does remaining revenue come from? It comes from donors like you who are already annual supporters or from patrons ready to make an impact. Donor contributions and our special Stories That Sing Campaign provided roughly 50% of annual fi nancial support
in 2013. No matter the amount, contributions help Opera Colorado cover costs associated with all aspects of production, from behind the scenes preparations to everything that takes place on stage between the downbeat and curtain call. Bringing outstanding opera to life simply could not be accomplished without donor support.
To show how important donors are to the success of Opera Colorado, we recently improved the way in which we say “thank you” to those investing in the future of opera. New donor benefi ts include opportunities to interact with guest artists and staff at intimate, invitation-only events. A backstage tour of the Ellie Caulkins Opera House during a tech rehearsal the week before a production allows donors at the Friends Level ($100+) to experience the preparation needed for a performance. Donors at the Comprimario Level ($1,000+) can meet guest artists at private receptions. Other opportunities include invitations to Sitzprobe rehearsals, master classes and cast dinners. These are just some of the ways in which Opera Colorado donors can experience their support in action.
A new level for donors this year is the ability to become an Impresario! As an Impresario, dedicated donors can increase their investment through customized sponsorships above and beyond their annual contribution. Opportunities include sponsoring Education & Community Engagement programs, Young Artists, Main Stage Artists or Conductors, or Impresario donors can become production or season sponsors. Sponsorships begin at $2,500 and provide a great way to support the programs and productions you love.
Many donors take pride in knowing that their support goes into every aspect of the production, like Impresario Donors and 2014 Season Sponsors Ken and Donna Barrow. “The lighting design for Rigoletto added so much to the ambience,” says Donna, “I loved the warm glow that washed
Giving has its benefi ts–for everyone!I N V E S T I N G I N T H E F U T U R E O F Y O U R O P E R A
B Y G L E N D A M A S T E R S
Please see Giving on page 18
HELP SUPPORTOPERA COLORADO
DONATE TODAY.
O V A T I O N ! s u m m e r 2 0 1 4
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On behalf of the board of directors and staff of Opera Colorado, I would like to express our sincere gratitude to Mike Hughes for his leadership as Chairman of the Board over the past two years, we are extremely thankful for all that he has done. We are very pleased to welcome Mike Bock as our new Chairman starting this month and we look forward to the next two seasons with his leadership.
– Greg Carpenter, General Director
MIKE HUGHES ON HIS TENUREAS CHAIRMAN OF THE BOARDIn more than a decade on the board of Opera Colorado, the artistic highlight for me was just before I became the board chair – Daniel Catán’s Florencia en el Amazonas. It is as melodic as a Puccini opera but it is contemporary, written in Spanish and set in the Americas. It felt immediate and relevant while also being magical and fantastic. During my two-year term as Chair, the artistic highpoint was this: beautifully balanced ensembles. Take just this season – the incredible talent of the whole cast of Rigoletto and the way they fi t together. The exceptional singing and acting of the Carmen cast and the way they brought the opera together – that is what I will remember from these two seasons. During the last two years, a great many things changed at Opera Colorado. We responded to
a budget shortfall by examining the causes and changing the way we approached budgeting and forecasting. Our board rallied, pulled together and went to work on the problem, never shying away from taking responsibility and doing what we had to do. We worked with our General Director Greg Carpenter to live within our means while producing two seasons of beautiful singing. In the near term, I am looking forward to the world premiere of The Scarlet Letter. We made an important decision to postpone it to 2016 and I think we will be ready to produce it the way we know it can be done. I think it will be worth the wait. For the long term, I am looking forward to bringing more new things to our audience – new productions of the most important operas in the history of the art form and new works that extend that history.
MIKE BOCK ON TAKING OVERAS THE NEW CHAIRMAN OF THE BOARDI feel very honored for the opportunity to serve as Chairman of the Opera Colorado Board of Directors. This organization has a history of bringing the highest quality live opera to the stage in Colorado that spans more than three decades and it will be a pleasure to help further that tradition. I am very thankful to my predecessor, Mike Hughes, who was a tireless steward of the organization through some diffi cult fi nancial times and leaves us on sound fi nancial and artistic footing. During my term, I hope we can continue to strengthen our fi nancial position by expanding our base of donors so as to increase the breadth of our offerings while maintaining the artistic quality our audience has grown to expect. I have the utmost confi dence in our seasoned staff and board and look forward to working with them to provide great live opera for years to come.
Passing the torchM I K E B O C K AP P O I NTE D C HAI R MAN O F TH E B OAR D
June 28 - August 10
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GIACOMO PUCCINIARI PELTO ConductorKETURAH STICKANN DirectorSHU-YING LI Cio-Cio SanERICA BROOKHYSER SuzukiDINYAR VANIA B.F. PinkertonJOHN HANCOCK Sharpless
“Madame Butter� y is the role for me. Singing this role is more di� cult than some of the other roles I feel. There is always a great challenge not only from the vocal technique but also from the character’s dramatic transformation and body movement. ” – SHU-YING LI
Ari Pelto’s appearance is sponsored by Dave and Pam Duke.
NOVEMBER 15 | 18 | 21 | 23 MAY 2 | 5 | 8 | 10W.A. MOZARTJOSEPH MECHAVICH ConductorDANIEL WITZKE DirectorMAUREEN MCKAY Pamina JONATHAN BOYD TaminoDANIEL BELCHER PapagenoSO YOUNG PARK Queen of the Night
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FOUR EXTRAORDINARY WOMEN.
Ken and Donna Barrow | 2014-2015 & 2015-2016 Season Sponsors
2014
2015
ORDER YOUR SEASON TICKETS NOW | OPERACOLORADO.ORG | 303.468.2030
FOUR UNFORGETTABLE OPERAS.
NOVEMBER 7 | 10 | 13 | 15 MAY 7 | 10 | 13 | 15GIUSEPPE VERDIARI PELTO ConductorDAVID GATELY DirectorALEXANDRA LOBIANCO AidaCARL TANNER RadamesCATHERINE MARTIN AmnerisMARCO NISTICÒ Amonasro
“Alexandra Lobianco has a beautifully steely voice.” – ST. LOUIS POST-DISPATCH
Ari Pelto’s appearance is sponsored by Dave and Pam Duke.
2015
2016
LORI LAITMANARI PELTO ConductorBETH GREENBERG DirectorELIZABETH FUTRAL Hester PrynneDOMINIC ARMSTRONG Arthur Dimmesdale
“To create one of the best-known characters from American literature will be a thrilling opportunity. Especially as she is delineated through the deft lyricism of Lori Laitman’s score…a sheer luxury!” – ELIZABETH FUTRAL, SOPRANO
The Scarlet Letter is sponsored by Ken and Donna Barrow, Dave and Pam Duke, Noël and Thomas Congdon, National Endowment for the Arts and Opera America.
WORLDPREMIERE
O V A T I O N ! s u m m e r 2 0 1 4
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Like opera itself, ticketing for opera performances seems to work best when it’s hand-crafted. This is the opposite of one of those huge stadium concerts, where 50,000 tickets sell-out in minutes online, and concert-goers consider themselves lucky just to be inside. The seat itself is insignifi cant. Opera-lovers—as you may well know—are a much more discerning crowd.
Fortunately, Opera Colorado’s home is the Ellie Caulkins Opera House, a venue designed specifi cally with opera and ballet in mind. Our long-time former residence, Boettcher Concert Hall, was a mixed bag of idiosyncrasies: the seating in the round offered some surprising intimacy, yet often at the expense of sound and sight. Staging was a challenge—the voice can only project in one direction at a time.
The Ellie, in contrast, adopted the form that evolved with opera, with a minimum of quirks. Seating and pricing follows the classic formula that closer and more centered is better. Opera audiences are comfortable with that conventional wisdom, and are generally pleased with the acoustics and sightlines throughout the hall.
Still, opera lovers have a rich assortment of personal preferences; they know what they need to comfortably enjoy the experience of performance. Some prefer an aisle seat “I need the room to stretch” or “I’m claustrophobic,” while others always ask for the most centered seat in long rows “I hate having people climb over me.” Some want to be as close as possible “I love watching the performer’s faces,” while others prefer more distance or elevation “the sound blends so much better there.” More than a few get attached to seats they’ve had for several seasons because they like the people who sit near them, even if they don’t know their last names: it’s an opera community.
There are practical needs as well: minimizing the number of stairs, keeping the vertigo-prone away from edges, accommodating the short-statured and the tall. Happily, the Ellie, as a relatively new construction (opened in 2005), is in full compliance with the Americans with Disabilities Act of 1992, and offers a wide range of good solutions for mobile accessibility, as well as special equipment available for the hearing or sight-impaired.
What matters is that you tell us what makes you comfortable. Luke Lindholm, Opera Colorado’s Patron Services Manager, has years of experience in ticketing for the performing arts. So does the rest of his department (me). If you expect to have knee surgery shortly before your next scheduled opera, let us know whether it’s the left or right knee—we will try our best to fi nd you a great seat that can also accommodate a bulky brace. If you have recently relocated, we can talk about dress code (welcome to Colorado: there
About your ticket to the Opera...Your comfort is our mission.A M E S S A G E F R O M P A T R O N S E R V I C E S
Please see Your Ticket to the Opera on page 22
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Who we are and what we do• Support and encourage singers pursuing careers in opera• Provide continuing education to members in the appreciation and knowledge of opera • Award Scholarships, Grants and financial support to young Colorado Singers• A volunteer, non-profit, charitable organization• Provide opportunities for members to experience the joy of opera
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over the cast when the curtain rose. I am pleased that our contribution allowed Opera Colorado to maintain the high production standards we’ve had in previous seasons.”
What does this all mean? When you contribute, everyone wins! Through generous contributions Opera Colorado can continue its long-standing tradition as Colorado’s premier Opera Company, presenting nationally recognized and world-class performances right here in Denver. Donors benefi t knowing that their support maintains this tradition and keeps opera at the forefront of performing arts for the entire community.
Learn more about how contributions are utilized at OperaColorado.org/Support.Giving from page 9
2014 SEASON SPONSORS Ken and Donna Barrow
RIGOLETTO PRODUCTION SPONSORS
Leonardo Vordoni, ConductorMike and Julie Bock
PRE-PERFORMANCE LECTURES
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CARMEN PRODUCTION SPONSORS
Production SponsorDave and Pam Duke
Sandra Piques Eddy, CarmenEllie Caulkins
YOUNG ARTISTS SPONSORS
Benjamin SeiverdingMarlis and Shirley Smith, and Karen Brodyand Mike Hughes
Bret SpraguePatrick Spieles and Carol McMurry
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IN SUPPORT OF OPERA COLORADO’S EDUCATION PROGRAMSFor underwriting and ticket information, please contact Camille Spaccavento, Director of External Affairs & Marketing
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isn’t one), then again it is the opera and people do seem to enjoy dressing for a special evening.
We understand that building successful relationships with patrons is key to the survival and success of any performing arts organization. We know that we offer a great product—and it is our job to make your experience as enjoyable as possible. We will try to alert you when we anticipate bad traffi c or a crowded parking garage. We will try to fi nd nearby seats for friends who are suddenly in town. We can talk about whether your child is ready for a full, mainstage production. If you’re not sure, we might steer you to one of our shorter family events as an introduction. Just don’t blame us for the weather, ok?
If you are an Opera Colorado season ticketholder—our best friends—we always welcome the opportunity to help you with schedule confl icts, additional discounted tickets or seating concerns. When you renew—and now is the time—let us know what’s on your mind. This year, for the fi rst time, Opera Colorado is offering the opportunity to renew two seasons at once (2014-15 & 2015-16). Let’s talk about what we can do to make you more comfortable. You can now fi nd a Patron Services representative in the Ellie lobby before every performance – stop by and say hello. It’s part of an ongoing effort to get us out of the old, fortress box offi ce, and more in touch with you.
Ed Mickens is Associate Manager of Patron Services for Opera Colorado. He and Luke Lindholm may be contacted at 303.468.2030, or [email protected].
Building successful relationships with patrons is key to the success of any performing arts organization.
Your Ticket to the Opera from page 14
Madama Butterfl y from page 6
rude and demonstrative, and perhaps the most interesting, Cio-Cio San is no longer a caricature of the gentle, confused foreigner, but a strong – if misguided – woman in her own right. Puccini pulled the focal point of the opera away from the stereotypical culture clash of East and West and concentrated it more on the singular tragedy of his title character.
Despite this, I feel like the East and West dissonance is still pertinent to the story telling, partially because it resonates in our global society, and partially because it adds to the victimization of this young woman caught between two worlds: her perceived idea of the prevalence of fi delity in Western Culture, and her strong sense of honor – and the inability to live life without it – coming from her Samurai background and her father’s own death in the face of a dishonorable future.
In Puccini’s time, exoticism was the word of the day, and audiences only knew these cultures through portraits presented to them by artists and writers. We have different access today, and with that in mind, I feel that I have a certain responsibility to be as dramaturgically correct in the portrayal of Japanese culture as I can. Having worked in Japan and read much about Japanese life at the dawn of the 20th century, I spend a lot of time with the cast and chorus working on their physical and energetic presence. While much of the cast is not Japanese, finding the right breath and gesture can go a long way to portraying the characters and story in ways that ring true for a 21st century audience, as well as pulling out the gravity of Cio-Cio San’s decisions from start to fi nish.
– Keturah Stickann, Madama Butterfl y Director
s u m m e r 2 0 1 4 O V A T I O N !
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Wine, dine and unwind: Date night at four seasons
Take advantage of our Wine, Dine and Unwind offer and indulge in the ultimate “Date Night” experience. Begin your weekend escape with two complimentary cocktails at EDGE Bar. Unwind in our indoor and outdoor whirlpools, or pamper yourself at our urban spa sanctuary. Next, savor local ingredients at EDGE Restaurant, our progressive American steakhouse, with a delicious three-course prix xe dinner for two before retureturning to your room where a romantic treat awaits. In the morning, sleep in and enjoy breakfast in bed at your convenience. For reservations, contact your travel consultant, Four Seasons at 1-800-332-3442 or the Hotel directly at 1-303-389-3000. Or visit www.fourseasons.com/denver/packages
303.912.3320950 Wadsworth Blvd., Ste. 120 • Lakewood, CO 80214
O� ce: 303.962.4272 ext 414 • Fax: [email protected]
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Join Opera Colorado for opening night festivities.Enjoy an all-inclusive dining experience at The Four Seasons Hotel
before the performance. Cocktails begin at 5:00 p.m.followed by a delicious three-course dinner.
The Four Seasons Hotel • 1111 14th St., Denver$125 per person per dinner. Ticket to the opera sold separately.
Visit OperaColorado.org to order.
MADAMA BUTTERFLYSat., November 15, 2014 | 5PM
THE MAGIC FLUTESat., May 2, 2015 | 5PM
24
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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 Anna Griggs Intern 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 Anna Griggs Intern
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
ONLINE RESERVATIONS Restaurantkevintaylor.com
BOARDOFFICERS
Michael BockChairman
Marcia RobinsonPresident
Michael HughesChair EmeritusMartha Tracey
TreasurerCarol Crossin Whitley
Secretary and Vice PresidentDirk deRoos
Vice PresidentDIRECTORS
Bruce AllenKenneth BarrowSheila Bisenius
Suzanne Dost BucyEllie Caulkins
Lifetime Honorary ChairDr. Larry ChanMary Conroy
Craig JohnsonThe Honorable Kenneth M. Laff
William ManiatisTracy McCarthy
Muffy French MooreKevin D. O’Connor
Kent RiceEx-Offi cio
Gerald SaulMerrill ShieldsShirley SmithByron WatsonBritney WeilLarry Zimmer
HONORARY DIRECTORS
Susan AdamsJill Irvine Crow
Nellie Mae DumanJack FinlawHugh Grant
Dr. Charles KafadarJeremy Kinney
Loring W. KnoblauchLifetime Honorary Director
Pamela MerrillJeremy ShamosSusan ShamosHarry Sterling
Ovation! Magazine
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by The Publishing House.
Angie Flachman-JohnsonPublisher
Wilbur E. FlachmanPresident & Founder
Annette AllenArt Director
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For advertising information303-428-9529
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IrresIstIble
InspIred
IconIc
MAcY’s • neIMAn MArcUs • nordstroM
160 AMAZInG stores 3000 eAst F Irst AVenUe • denVer, co • sHopcHerrYcreeK.coM
Apple • brooKs brotHers • bUrberrY • elwAY’s • FAÇonnAble
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MontblAnc • rAlpH lAUren • restorAtIon HArdwAre
tIFFAnY & co. • tUMI
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