cu presents magazine takács fall 2014, sept. 21
DESCRIPTION
In-Theater magazine produced for CU College of MusicTRANSCRIPT
Global performance. World-class entertainment.You have to be here.
2014–2015 Season
Be engaged. Be inspired. Be here.
20142015SEASON
www.boulderballet.org
• The Nutcracker with full orchestra
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From the Executive Director Contents
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Dear Friends,
The beginning of autumn and the academic year is an exciting time for the performing arts at CU, with a whole year of scintillating performances lined up before us.
This fall’s events range from the sublime silliness of Gilbert and Sullivan’s The Pirates of Penzance to Beyond Zero: 1914-1918, a deeply moving, multi-media commemoration of World War I performed by the Kronos Quartet, and a high-energy evening in the African American dance tradition of stepping from Step Afrika! And as always, the talented faculty and students of the College of Music will bring you an eclectic lineup of performances.
This fall, I’m also privileged to introduce to you the new dean of the college, Robert Shay, who succeeds Daniel Sher. Rob comes to CU from the University of Missouri School of Music and has held leadership positions at such prestigious institutions as the Longy School of Music and Duke University.
We’re also making some changes to our printed programs that we hope you will find engaging and entertaining. Look for featurettes and interviews with our artists, tips and tidbits from faculty experts, photo collages and more. And we’d love to hear your ideas for stories and features; you can email Clay Evans, director of communications, at [email protected].
I look forward to seeing old friends and meeting new ones this fall at CU Presents performances and hearing your ideas. And feel free to email me any time at [email protected].
Thank you so much for your continuing support of the performing arts at CU-Boulder. We truly couldn’t do it without you.
Warm regards,
Joan McLean BraunExecutive DirectorCU Presents
40 years of Mummenschanz ........ 6
Calendar ....................................... 8
Why ‘the Great War’? ................. 12
Faculty Tuesdays ........................ 20
Artist Series Donors ................... 22
Takács Donors ............................ 24
CU Opera Donors ....................... 28
Tips for the opera newbie ........... 29
Personnel ................................... 30
This program is produced for CU Presents
by The Publishing House, Westminster, CO.
Angie Flachman Johnson, PublisherAnnette Allen, Art Director &
Production CoordinatorStacey Krull, Graphic Design & Layout
Wilbur E. Flachman, President
Clay Evans, CU Presents Editor
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Mummenschanz: 40 years of ‘oohs’ and ‘aahs’Mummenschanz’ back-to-basics puppetry on a blank, black stage offers simple charm and humor for audience of all ages. The visual-theater troupe has performed around the world and brings its 40th-anniversary program to Macky Auditorium on Nov. 7.
Floriana Frassetto, the enthusiastic Italian-American artist who cofounded the Swiss company, answers a few questions about the company’s long success:
Can you tell us a bit of history about Mummenschanz? It was founded in 1972 in Switzerland and we had our first major success at the Avignon Festival in France. We then went to Germany and the United States. … Anna Kisselgoff (of The New York Times) gave us a rave. We never thought we’d be as successful as we still currently are.
What can you tell us about the 40th-anniversary show? This addition conveys 40 years of creation. The first 35 minutes represent what we did in the ‘70s, with the clay mask and slinky balloons. The second section represents the ‘80s to the year 2000. This section is more abstract, more sculptural. The next section starts at the year 2000 and it includes some marionette-like work. There are oohs and aahs and laughter and applause — people are surprised when the thin little (puppet) talks to you and expresses an emotion. The current show features 30 of the best sketches we’ve made.
How do you deal with the balance of being both a creator and performer? How do you balance a marriage? You love it, you fight it, it’s constant. I’m dedicated to my work completely and I love it. I wake up at night and dream how we can improve and change something. I think now we have a very nice mix — people find it funny and playful.
Mummenschanz audiences cover a wide demographic. It speaks to all ages. We recommend it for six year olds and up. It’s not so common for people to see a show that works for both children and adults, which is why ours is special.
— Sarah Moore, TheaterMania.com
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2014-15 Calendar
The Artist Series presents the world’s finest performers in classical music, jazz, theater, dance and world music in majestic Macky Auditorium.
For detailed information and tickets, go to cupresents.org.
STEP AFRIKA!Friday, Sept. 19, 2014, 7:30 p.m.Stepping is a percussive art form that relies on kicking, stomping, clapping and chanting, making for an energetic, dynamic performance, a delight for eyes and ears alike. Step Afrika! is the world’s first professional dance company devoted to this unique art form, a joyous celebration of the African American experience that originated at traditionally black colleges in the early 20th century and traces its roots to traditional African dance. The company will host a free public workshop in stepping from 10 to 11:30 a.m. Friday, Sept. 19 in the Charlotte York Irey Theatre in the University Theatre Building at CU-Boulder.Sponsored by Caplan & Earnest and supported by a grant from the Western States Arts Federation.
KRONOS QUARTETBeyond Zero: 1914–1918Wednesday, Oct. 8, 2014, 7:30 p.m.Join the world-renowned Kronos Quartet for a program that includes a commemoration on the centennial of the outbreak of “the war to end all wars.” Beyond Zero: 1914-1918, by Serbian composer Aleksandra Vrebelov musically explores the brutality that set off a century of bloody warfare and features projections of seldom-seen film from World War I. The first half of the program features music by Nicole Lizée, Yuri Boguinia and others.Supported by a grant from the Roser Visiting Artist Fund.
MUMMENSCHANZFriday, Nov. 7, 2014, 7:30 p.m.Silence, illusion, light and shadow. Masks and props made from everyday objects. Mind and body, sleight of hand. For more than four decades, the surreal Swiss theater troupe has brought myth, mystery and plenty of laughter to audiences around the world, using its unique universal language to explore the human condition.
CHRISTMAS WITH THE KING’S SINGERSThursday, Dec. 11, 2014, 7:30 p.m.The Grammy Award-winning British male sextet arrives on the cusp of winter to perform an enchanting Christmas concert. With their unique melodic arrangements, impeccable vocal blend and trademark playfulness, the ensemble brings both wit and warmth to seasonal music, both traditional and contemporary.Sponsored by Hurdle’s Jewelers.
BILL T. JONES AND ARNIE ZANE DANCE COMPANYPlay and PlayThursday, Jan. 22, 2015, 7:30 p.m.Choreographed to some of the world’s best-loved and most seminal works of classical music—Mozart, Ravel, Schubert—and performed with live musicians, Bill T. Jones’ astonishingly original, muscular work, Play and Play, is dance like you’ve never seen it before. Winner of two Tony Awards and recipient of a MacArthur “genius” grant, Jones has continually expanded the possibilities of dance.Sponsored by James & Associates.
MEDESKI, MARTIN AND WOOD WITH ALARM WILL SOUNDFriday, Feb. 6, 2015, 7:30 p.m.Get ready for incomparable originality, a little jamming and a lot of fun when the hip, cutting-edge chamber music of Alarm Will Sound melds with the eclectic avant-jazz-funk sound of Medeski, Martin and Wood. The groove-oriented trio, a hit on the jam-band circuit pioneered by the Grateful Dead, and the versatile new-music ensemble will take you on an evening of daring collaboration and thrilling improvisation.
THE ASSAD BROTHERS WITH ROMERO LUBAMBOThursday, Feb. 19, 2015, 7:30 p.m.Exotic Latin flair takes the stage when the Assad Brothers, Brazil’s most celebrated classical guitarists, join with jazz guitar virtuoso Romero Lubambo for Samba Exótico, an exploration of Samba and Choros, a popular 19th-century genre that blossomed in Rio de Janeiro. With its roots in Africa and unique fermentation in the coastal city of Bahia, Samba vibrates with the essence of Brazil.Sponsored by Shaw Construction and partnered by H.B. Woodsong’s.
NATALIE MERCHANT WITH THE CU SYMPHONY ORCHESTRAThursday, April 2, 2015, 7:30 p.m.Over her stellar 30-year career, Natalie
Merchant has been the driving force behind alt-pop sensation 10,000 Maniacs and embarked on a multi-platinum solo career, always delving deep into the human condition with her lyrical storytelling. Now she brings that same searching literary
sensibility and her distinctive vocal style to new heights in a performance of her music, old and new, arranged for orchestra.Sponsored by Hurdle’s Jewelers.
KRONOS QUARTET
THE KING’S SINGERS
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The Grammy Award-winning quartet—Edward Dusinberre, violin; Károly Schranz, violin; Geraldine Walther, viola; and András Fejer, cello—has been selling out concerts for three decades at CU-Boulder with an irresistible
blend of viruosic technique and engaging personalities. Each season includes a concert by a special invited guest ensemble. All Takács performances take place in Grusin Music Hall. Takacsquartet.com
TAKÁCS QUARTETSunday, Sept. 21, 2014, 4 p.m.Monday, Sept. 22, 2014, 7:30 p.m.Program: Mozart’s String Quintet in G minor, K. 516Beethoven’s Quartet in B-flat major, Op. 130
SPECIAL GUEST THE CAVANI STRING QUARTETSunday, Oct. 19, 2014, 4 p.m.Monday, Oct. 20, 2014, 7:30 p.m.Grusin Music HallThe world-famous, all-women Cavani Quartet, named after the 19th-century Italian violin makers Giovanni and Vincenzo Cavani, celebrates its 25th anniversary this year. The Cleveland Plain Dealer says, “Together, these players make music with passionate conviction, as if their lives depended on interaction.” cavani.org
TAKÁCS QUARTETSunday, Nov. 2, 2014, 4 p.m.Monday, Nov. 3, 2014, 7:30 p.m.Program:Mozart’s String Quartet in C major, K. 465Debussy’s String Quartet in G minor, Op. 10Beethoven’s String Quartet No. 2 in E minor, Op. 59
TAKÁCS QUARTETSunday, Jan. 25, 2015, 4 p.m.Monday, Jan. 26, 2015, 7:30 p.m.Program TBA
TAKÁCS QUARTETSunday, March 8, 2015, 4 p.m.Monday, March 9, 2015, 7:30 p.m.Program TBA
TAKÁCS QUARTETSunday, April 26, 2015, 4 p.m.Monday, April 27, 2015, 7:30 p.m.Program TBA
Wide-ranging repertoire, lavish scenery, drama and amazing voices—CU Opera has it all. Director Leigh Holman and Music Director Nicholas Carthy showcase the talent of the future in three
productions each season. Go to cupresents.org for detailed ticket information and times.
THE PIRATES OF PENZANCEBy Gilbert and SullivanOct. 24-26, Macky AuditoriumGilbert and Sullivan’s beloved comic operetta tells of the coming of age of Frederic, indentured to pirates as a boy, and his desire to leave the buccaneer’s life and marry beautiful Mabel. But first, he must find a way to defeat the swashbucklers he’s known and loved all his life.
COSÌ FAN TUTTEBy Wolfgang Amadeus MozartMarch 13-15, Macky AuditoriumMozart’s witty opera buffa follows 24 hours in the lives of two beautiful sisters whose scandalous infidelities make for a comic romp that was considered too hot for audiences even in the early 20th century. Featuring some of the composer’s most sumptuous arias, duets, and ensemble pieces make for a decadent and enchanting evening of opera. Sung in Italian with English surtitles.
L’INCORONAZIONE DI POPPEA(THE CORONATION OF POPPEA)By Claudio MonteverdiApril 23-26 Music Theatre, Imig Music BuildingMonteverdi’s drama about sex, crime and realpolitik during the debauched reign of the Roman Emperor Nero, turns conventional morality on its head—virtue is punished and greed rewarded. The sensual duet between Nero and his lover Poppea is the pièce de résistance. Sung in Italian with English surtitles. This production will be styled after the hit Netflix realpolitik series House of Cards, starring Kevin Spacey.
HOLIDAY FESTIVALDec. 5-7, Macky Auditorium(see cupresents.org for detailed ticket information and times)A lively program of seasonal music and festive holiday decorations in Macky Auditorium inspire sold-out audiences and make the Holiday Festival a beloved annual tradition. Choirs, orchestra, ensembles and faculty soloists from the CU-Boulder College of Music invite you to share the joy and warmth of the season with your family and friends.
SPRING SWINGApril 12, 2 p.m., Macky AuditoriumJoin the CU Concert Jazz Ensemble and guest artists for a swinging return to the Big Band era. The program will feature music from the ensemble’s new recording, a tribute to the greatest bands and composers of the era, including Benny Goodman, Glenn Miller, Duke Ellington, Count Basie and more.
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Congratulationsto the University of Colorado College of Music, whose efforts have brought entertainment, learning, melody,
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We’re proud to sponsor the University of Colorado College of Music.
For subscription information call 303.444.3444 or visit DailyCamera.com.
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Tomorrow’s talent is onstage today with a wide variety of performances from CU students and faculty. For detailed ticket and event information go to www.colorado.edu/theatredance.
OUR TOWN BY THORNTON WILDERDirected by Lindsay Weitkamp and Wesley LongacreSept. 26-Oct. 5, University TheatreWilder’s beloved, Pulitzer Prize-winning classic depicts life, love and death in the small American town of Grover’s Corners. The community’s hopes and dreams expand into questions about meaning and purpose: How does one “realize life”? How do we take advantage of the time that we have?
A BROADWAY CHRISTMAS CAROLBy Kathy Feininger, Directed by Nathan StithDec. 4-21, University TheatreIf Charles Dickens had huddled with Rodgers and Hammerstein, Andrew Lloyd Webber, and Matt Stone and Trey Parker to write a holiday show, they just might have come up with A Broadway Christmas Carol. Simultaneously irreverent and respectful, the play offers a fresh, hilarious and charmingly recognizable retelling
of Dickens’ classic holiday ghost story, complete with new lyrics to famous Broadway show tunes.
TARTUFFE BY MOLIÈRETranslated by Christopher HamptonDirected by Lynn NicholsFeb. 13-22, University TheatreFrench playwright Molière’s comic masterpiece skewers religious hypocrisy, mindless piety and sexual deceit was so daring at the time of its writing that audience members could be excommunicated for seeing it. Tartuffe tells how a “man of the cloth” worms his way into the gullible heart of Orgon, a rich family man, and tries to take him for all he has.
JESUS CHRIST SUPERSTARLyrics by Tim Rice, music by Andrew Lloyd Webber, Directed by Cecilia PangApril 10-19, University TheatreEver since the controversial rock opera by Andrew Lloyd Webber and Tim Rice was released as a concept album in 1970, it has
enflamed the passions of critics and fans alike. The story of Jesus of Nazareth during his final days, this high-energy, immensely popular show plunges deep into the hearts of the men and women, from Judas Iscariot to Mary Magdalene to Pontius Pilate, who played a part in one of the most momentous stories ever told.
THE CURRENTApril 17-19Charlotte York Irey TheatreA showcase of vital new works by CU dance faculty and Millicent Johnnie, the 2014-15 Roser Guest Artist in Dance. Johnnie has performed with Urban Bush Women, Cleo Parker Robinson Dance Ensemble and Hubbard Street Dance Chicago. She has choreographed for Grammy Award-winning artists Usher Raymond, Chrisette Michele and Los Hombres Calientes.
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What was so ‘great’ about the Great War?This year marks the centennial of the beginning of World War I. On Oct. 8, the Kronos Quartet will perform “Beyond Zero: 1914-1918,” a multi-media work with music by composer Aleksandra Vrebelov and a film by Bill Morrison, based on long-lost archival film footage from the war.
We asked Martha Hanna, professor of history and World War I expert at CU-Boulder, how that brutal, bloody conflict came to be known as the “Great War.”
“It was the ‘Great War’ to those who lived through it—or died in it—because of its catastrophic effects, felt at the time and reverberating to this day,” she says, offering the following examples:
Soldiers. Millions of men, from almost every continent on earth, fought in the Great War: 13 million Germans, 8 million Frenchmen, 5 million Britons, 2 million Americans. Estimates vary, but it is possible that as many as 10 million men died, and twice that many were wounded, some with disabling wounds—physical and psychological—which haunted them for the rest of their lives.
Civilians. Civilians also felt the grim effects of war, in ways that would become characteristic of warfare in the 20th and 21st centuries. More than one million Armenian civilians were
victims of genocide in 1915-16. On a much smaller scale, air raids—a new phenomenon in 1914 but a commonplace of modern warfare—targeted and killed civilians in London and Paris.
Political upheaval. Four empires—Germany, Austria-Hungary, Russia and the Ottoman Empire—collapsed as a direct consequence of their participation in the war. By making possible the Bolshevik seizure of power in 1917, the Russian Revolutions of that year laid the foundations for the Cold War. The collapse of the Ottoman Empire created political instability and the roots of the Middle East crises, which continue to this day.
Debt. The war left all the major European nations in debt, and the victors insisted that Germany pay $33 billion in reparations. Anger over reparations, a key element in Nazi propaganda, helped undermine democracy in Germany after the Great War.
Martha Hanna is Professor of History at the University of Colorado, Boulder. She is the author of the prize-winning book, Your Death Would Be Mine: Paul and Marie Pireaud in the Great War.
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Takács QuartetEdward Dusinberre, violin
Károly Schranz, violinGeraldine Walther, viola
András Fejér, cello
String Quintet in G minor, K. 516 Allegro Menuetto Adagio ma non troppo Adagio – Allegro
Wolfgang Amadeus Mozart(1756—1791)
Quartet in B-flat major, Op. 130 Adagio ma non troppo — Allegro Presto Andante con moto ma non troppo Alla danza tedesca: Allegro assai Cavatina: Adagio molto espressivo Finale: Allegro
Ludwig van Beethoven(1770—1827)
Program
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We tend to think of Mozart’s compositional gifts as effortless and unstoppable, which seems to be true in most cases—but not necessarily in chamber music. He struggled with the string quartet, as he admitted in the confessional cover page accompanying the masterful quartets dedicated to Haydn. Yet, two years after completing that set in 1785, he added another viola to the foursome and swiftly created two back-to-back quintets that were not only natural and fresh, but also grand-scaled in their design and, in the case of the extraordinary G-minor Quintet, as profound as anything he ever produced. But why did he choose a second viola? Right from the start, he resisted the well-established precedent set by the Spanish-based Italian composer Luigi Boccherini (1743-1805), who cranked out more than 100 quintets in which he augmented the quartet with a second cello, his own instrument of choice. For Mozart, the viola was his pet instrument whenever he performed casual quartets with friends. It’s also possible that he preferred the possibilities presented by a second mid-range voice, which allowed increased musical dialogue and richer harmonies. That first stab at a string quintet had appeared back in 1773, after he heard his Salzburg pal Michael Haydn’s quintet featuring two violas. It took five months of laborious work for Mozart to complete K. 174, and he returned to it for still more fussing and fixing after encountering a second viola quintet by his friend. No surprise that he then ignored the genre for a full decade. By 1787, the year he returned to the genre, Mozart was in full flower as a Viennese composer. Le Nozze di Figaro had caused a sensation in Prague the previous year (though not so much in Vienna) and work had begun on Don Giovanni for the Praguers. In the midst of all that came three viola quintets. The first was a brilliant reworking of an earlier Serenata, K. 388, for eight winds, an arrangement perhaps intended to be packaged for publication with the subsequent C major and G minor Quintets (K. 515 and 516). Those two were written a month apart in the spring of ‘87, which makes one question the source of all this sudden enthusiasm. Perhaps the three quintets were intended for Prussia’s music-loving Friedrich Wilhelm II, as a boastful nudge
toward the king’s court composer, Boccherini. In any case, the two newly composed works reveal a thorough understanding of the potential provided by five strings, whether in full-bodied orchestral sonorities or probing, transparent intimacy. The Quintet in G minor employs a key used infrequently by Mozart—most famously in the Symphony no. 40—one that suggests a mixture of anguish and resigned acceptance. Those feelings had been emphatically expressed in a letter to his father, who died soon after these two quintets were completed. In that correspondence, Mozart labeled Death the “best and truest friend of mankind,” adding that “his image is not only no longer terrifying to me, but is indeed very soothing and consoling.” Such fatalism shouldn’t suggest that K. 516 was all about Mozart’s mood at the time. Let’s not forget that the G minor’s companion Quintet, K. 515, completed only a month earlier, is set in the sunny key of C major (the same key pairing, incidentally, as in the 40th and 41st symphonies). Nonetheless, there’s no escaping the oppressive darkness that hovers over the opening measures of this quintet, its descending chromatic theme introduced as a restless, chilling dialogue. Instantly, we are swept into a world of profound mystery that continues into the Allegro’s second theme, also in G minor—as if there is no escape. The music that follows seems unable to let go of the intense emotional power in that opening movement. The minor-key Menuetto is hardly a charming dance tune, with its angry isolated chords. Despite beginning in a major key, the gorgeous Adagio maintains an air of muted melancholy (all the players employ mutes), injecting only a small degree of optimism in the midst of its sulking introspection. After all this heaviness, one expects, or perhaps yearns for, a happy finale. But this is no time for fun and games – not quite yet. Instead, we hear yet another Adagio, more tragic than anything already experienced. For two-and-a-half minutes, Mozart piles on the sort of beautiful sadness only he could conjure. Suddenly, a short pause takes us from unrelenting darkness into bright light, with a jolly, skipping Allegro that jars us back to a place where it’s OK to smile and laugh once more, even if we can’t shake off the specter of all those G-minor memories.
Program NotesBy Marc Shulgold
Wolfgang Amadeus MozartString Quintet in G minor, K. 516
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It’s easy to succumb to the romantic image of the graying Beethoven, now completely deaf, locking himself away from the world to write those final, ethereal string quartets, uninterested in the reception by his contemporaries—somehow knowing that these masterpieces were “music of the future.” Not so. Very much a man of his time, Beethoven remained a practical composer, plugged in to the changing tastes of Vienna’s ever-fickle audiences, its backstabbing music publishers and, as always, his need to simply make a living. Just as payment for his works remained a high priority, so too did the responses from the culture-hungry Viennese. Consider the first public performance of opus 130, on March 21, 1826, given by the renowned quartet led by loyal friend and supporter Ignaz Schuppanzigh. After the concert, Karl Holz, a violinist in that ensemble and a dedicated confidant, rushed to the tavern where the composer sat alone, and reported that opus 130’s two dance-like movements—the witty Presto and folk-flavored Alla danza tedesca—had been cheered and each encored. “Yes, these delicacies!,” Beethoven responded, adding, “Why not the Fugue?” – a reference to the concluding Grosse Fuge (we’ll get to it in a moment). That one didn’t go over so well, was evidently Holz’s reply. “Cattle! Asses!,” snapped Beethoven. Holz answered that listeners to opus 130 were “inspired, astonished or questioning,” most of them loudly appreciative because of their “awe” for the master. Vienna, it seems, held many faithful music-lovers who consistently embraced the beloved if often misunderstood composer. Context is important here: While most of Europe was now favoring the pretty tunes of Rossini over Beethoven’s “difficult” late works, he had his fans—among them the Russian Prince Nikolas Galitzin, who, in November 1822 had asked for “one, two, or three quartets for which labor I will be glad to pay you what you think proper.” His timing was perfect, since Beethoven had already begun toying with the string quartet, a genre he last visited back in 1810, with opus 95. Even with Galitzin’s generous commission, progress on the three quartets was slow (there was still the matter of finishing the Missa Solemnis, Ninth Symphony and Diabelli Variations). The first, opus 127, was finished in February 1825; then came opus 132 that July, with opus 130 written between August and November. Two more followed (opus 131 and 135) and that was it—sort of. As mentioned, opus 130 originally ended with an enormous “Great Fugue,” music that has stamped this work with unending controversy. A contemporary Leipzig review labeled
the quartet “incomprehensible, like Chinese.” Few who heard the fugue (or played it) could fully fathom its complexities. In April 1826, the publisher Mathias Artaria cautiously wrote the composer with a modest idea: Let’s publish the Grosse Fuge separately and tack on a new, um, less cumbersome finale. It seems impossible for us to believe that the hard-headed, unshakable Beethoven agreed to the plan. But he did. Why? It surely wasn’t the added income Artaria promised. Perhaps Beethoven felt that either finale worked just fine. Arguments still rage, some musicologists insisting that the Fugue had been the perfect, logical ending, noting that seeds for it were carefully planted throughout the previous five movements. Others say that the sheer density of it overwhelmed what had come before. In any case, this performance closes with the frisky alternate finale, which turned out to be the composer’s last completed piece. Regardless of which ending is employed, here is a work that continues to astonish its listeners with its many wonders. The somber opening and the recurring shocks from those sudden, alternating fast-and-slow passages in the opening movement are pure Beethoven at his most evocative and unpredictable. There are two scherzo movements, the charming, brief Presto and the gentle, hummable Alla danza tedesca (German Dance). Those appear alongside two slow movements, the genial Andante and the otherworldly, unforgettable Cavatina—a dreamy aria-like piece highlighted by a miraculous passage featuring a detached, a-rhythmic violin solo over slow, unison triplets, market beklemmt (oppressive, anguished). The final, folksy Allegro functions wonderfully here as a lovely dessert, ending a meal of extraordinary invention and profound musical thought—an ideal program partner to Mozart’s equally divine string quintet.
Takács QuartetRecognized as one of the world’s great ensembles, the Takács Quartet plays with a unique blend of drama, warmth and humor, combining four distinct musical personalities to bring fresh insights to the string quartet repertoire.The Takács became the first string quartet to win the Wigmore Hall Medal on May 10, 2014. The medal, inaugurated in 2007, recognizes major international artists who have a strong association with the hall. Other recipients include Andras Schiff, Thomas Quasthoff, Menachem Pressler and Dame Felicity Lott. Appointed in 2012 as the first- Associate Artists at Wigmore, the
Ludwig van BeethovenString Quartet in B-flat major, Opus 130
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quartet presents six concerts every season there.Other European engagements in 2014-2015 include the Edinburgh and Bath festivals, the Louvre in Paris, Amsterdam’s Concertgebouw, Vienna’s Musikverein, London’s Queen Elizabeth Hall, and others in Geneva, Florence, Cremona and Budapest.In 2012, Gramophone announced that the Takács was the only string quartet to be inducted into its first Hall of Fame, along with such legendary artists as Jascha Heifetz, Leonard Bernstein and Dame Janet Baker. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London. Based in Boulder at the University of Colorado, the Takács Quartet performs 90 concerts a year worldwide.In 2014-2015, the quartet performs throughout North America, returning to the Ravinia Festival and to Lincoln Center for two programs—one with guest violist Lawrence Power and the other with pianist Joyce Yang—and performs with pianist Marc-Andre Hamelin at the University of California, Berkeley, University of Connecticut and at Orchestra Hall in Chicago. They also return after many years to Santiago, Chile and Sao Paulo, Brazil.Meryl Streep performed Philip Roth’s Everyman program with the Takács at Princeton University on Sept. 19, in close collaboration with the author. The quartet is known for such innovative programming. They first performed Everyman at Carnegie Hall in 2007 with the late Philip Seymour Hoffman. They have toured 14 cities with the poet Robert Pinsky, collaborate regularly with the Hungarian Folk group Muzsikas, and in 2010 they collaborated with the Colorado Shakespeare Festival and David Lawrence Morse on a drama project that explored the composition of Beethoven’s last quartets.The quartet’s award-winning recordings include the complete Beethoven Cycle on the Decca label. In 2005 the Late Beethoven Quartets won Disc of the Year and Chamber Award from BBC Music Magazine, a Gramophone Award, Album of the Year at the Brit Awards and a Japanese Record Academy Award. Their recordings of the early and middle Beethoven quartets collected a Grammy, another Gramophone Award, a Chamber Music of America Award and two further awards from the Japanese Recording Academy.Their collaboration with Hyperion Records in 2006 started with a recording of Schubert’s Death and the Maiden and Rosamunde quartets. A disc featuring Brahms’ Piano Quintet with Stephen Hough was released to great acclaim in November 2007 and was subsequently nominated for a Grammy. Other recordings for Hyperion include Brahms’ Quartets op. 51 and op. 67; a disc featuring the Schumann Piano Quintet with Marc-Andre Hamelin; the complete Haydn Apponyi Quartets, op. 71 and 74; the Schubert Quintet
CD with Ralph Kirshbaum; the three Britten Quartets and the Brahms Viola Quintets with Lawrence Power, viola. Upcoming Hyperion recordings include the two Janacek Quartets and Smetana’s From My Life, the Debussy Quartet and the Franck Piano Quintet with Marc-Andre Hamelin, and Dvorak’s op. 105 Quartet and his Viola Quintet op. 97 with Lawrence Power, viola.Since 1988, the quartet has also made 16 recordings of works by Beethoven, Bartók, Borodin, Brahms, Chausson, Dvořák, Haydn, Mozart, Schubert and Smetana for the Decca label. The ensemble’s recording of the six Bartók String Quartets received the 1998 Gramophone Award for chamber music and, in 1999, was nominated for a Grammy. In addition to the Beethoven String Quartet cycle recording, the ensemble’s other Decca recordings include Dvořák’s String Quartet in E-flat Major, op. 51 and Piano Quintet in A Major, op. 81 with pianist Andreas Haefliger; Schubert’s Trout Quintet with Mr. Haefliger, which was nominated in 2000 for a Grammy Award; string quartets by Smetana and Borodin; Schubert’s Quartet in G Major and Notturno Piano Trio with Mr. Haefliger; the three Brahms string quartets and Piano Quintet in F Minor with pianist András Schiff; Chausson’s Concerto for violin, piano and string quartet with violinist Joshua Bell and pianist Jean-Yves Thibaudet; and Mozart’s String Quintets, K. 515 and K. 516 with Gyorgy Pauk, viola.The members of the Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder. The quartet has helped to develop a string program with a special emphasis on chamber music, where students work in a nurturing environment designed to help them develop their artistry. The quartet’s commitment to teaching is enhanced by summer residencies at the Aspen Festival and at the Music Academy of the West, Santa Barbara. They are also Visiting Fellows at the Guildhall School of Music and Drama, London.The Takács Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by Gabor Takács-Nagy, Károly Schranz, Gabor Ormai and András Fejér, while all four were students. It first received international attention in 1977, winning First Prize and the Critics’ Prize at the International String Quartet Competition in Evian, France. The quartet also won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition in 1978 and the Bratislava Competition in 1981. The quartet made its North American debut tour in 1982. Violinist Edward Dusinberre joined in 1993 and violist Roger Tapping in 1995. Violist Geraldine Walther replaced Mr. Tapping in 2005. In 2001 ensemble was awarded the Order of Merit of the Knight’s Cross of the Republic of Hungary and in March 2011 each member was awarded the Order of Merit Commander’s Cross by the President of the Republic of Hungary.For more information, please visit takacsquartet.com.
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Opening Night: ScheherazadeSEP. 14, 2014—7 PM at MackyGABRIELA MARTINEZ, PIANOCHARLES WETHERBEE, VIOLINSAINT-SAËNS Piano Concerto No. 2
Stravinsky’s Firebird SuiteOCT. 11, 2014—7:30 PMTWYLA ROBINSON, SOPRANO BRIAN JONES, TIMPANISTRAUSS Four Last SongsSIBELIUS • GRIFFES
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Beethoven’s “Emperor” ConcertoJAN. 17, 2015—7:30 PMCONRAD TAO, PIANOBEETHOVEN Creatures of Prometheus
Legendary LoveFEB. 14, 2015—7:30 PM PHILIPPE QUINT, VIOLINCORIGLIANO The Red Violin Concerto
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AUGUST 26: Paul McKee, trombone
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The Versatile Bassoon— Works from Baroque to Modern
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Bach Preludes and Fugues—Take two!
SEPTEMBER 23: Alejandro Cremaschi, piano
Unos y Dos Pianos del Sur
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With The New Music Ensemble and friends
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Best of Broadway
Faculty Tuesday recitals are held at 7:30 p.m. in Grusin Music Hall in the Imig Music Building at CU-Boulder. All performances are free and open to the public.
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Artist Series
BENEFACTORMark and Margaret CarsonCarson-Pfafflin Family FoundationGreg Silvus and Melanie MillerEllen and Joshua Taxman
SPONSORDiane and Richard DunnDaryl and Kay JamesMary LamyLouise Pearson and Grant Couch
PATRONAnonymousJoan McLean BraunChris and Barbara ChristoffersenRuth Carmel KahnMidge KorczakHal OsteenScott Wiesner and Janet Ackermann
SUPPORTERAnonymousAlbert and Nancy BoggessFiona and Marv CaruthersCarol and Michael GallucciDoree and Jerry HickmanMyra JacksonSusan and Jon LounsburyHeidi and Jerry LynchJanet and Scott MartinRobert and Sandra McCalmonJudy and Alan MegibowJerry and Jamie OrtenMikhy and Michael Ritter Alicia and Juan RodriguezLawrence and Ann Thomas
CONTRIBUTOREllen and Dean BoalNorma Ekstrand and Tom CampbellMarty Coffin Evans and
Robert TremblyHarold and Joan LeinbachRobert and Francine MyersBarbara and Irwin NeulightGary and Beth RauchStephanie and Alan RudyKenneth Pope and Christine Willis
MEMBERDavid BeausangGil and Nancy BermanShirley CarnahanPauline and Noel ClarkCatherine CloutierKenneth DellFran EvansLeslie and Merrill GlustromJohn Graham and Lorin LearGregory and Gladeane LefferdinkPamela LelandJudah and Alice LevineThomas and Gail MaddenPaul and Kay McCormickJanet and Hunter McDanielTammy NoirotKim and Rich PlumridgeRandall RutschRuth Shanberge in memory
of Carol SeidemanMary Ann Shea and Steven MeyrichCourtland and Carolyn SpicerZoe StiversRandi and Anthony StrohTom and Karen ThibodeauLloyd Timblin Jr.Geoffrey TyndallDerek Van WestrumVince and Caroline Wayland
The Artist Series presents performances of fine music and performing arts to which the community would otherwise not have access. The highest quality emerging and internationally recognized artists provide world-class performances and residency activities that enhance the learning environment at the University of Colorado Boulder and the cultural life of the community. The Artist Series includes a variety of presentations from many cultures and traditions.
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BENEFACTORAlbert and Nancy BoggessGary and Judith Judd in memory
of Fay ShwayderNorma R. Johnson Fund in memory
of Fay Shwayder
SPONSORPamela DeckerJanet and David RobertsonMarion Thurnauer and
Alexander Trifunac
PATRONCatharine Hawkins FoundationThomas and Carol CechChris and Barbara ChristoffersenCarol Lena KovnerKathleen SullivanThe Takacs QuartetJohn and Carson Taylor
SUPPORTERAnonymousRobert R. KehoeWalter and Eileen KintschLise MennVirginia M. NewtonNewton Family Fund, Inc.Neil and Martha PalmerMikhy and Michael RitterSusan and David SeitzLawrence and Ann ThomasJames and Lena Wockenfuss
CONTRIBUTORVirginia and Stanley BoucherWilliam and Alice BradleyChristopher and Margot BrauchliNoel and Pauline ClarkHarold and Joan LeinbachNancy and Paul LevittPatricia and Robert LisenskyCheryl Stevenson and James CannonStevenson-Cannon Family FundLynn StreeterRandi and Anthony StrohPatricia Thompson
MEMBERLois AbbottMaria and Jesse AweidaTed and Ingrid BecherMarda BuchholzKevin and Diana BunnellPatricia ButlerShirley CarnahanPenny CheneryCharlotte CorbridgeJoann and Richard CrandallBarbara and Carl DiehlCarolyn and Don EtterMarcia Geissinger and Neil AshbyMary and Lloyd GelmanSteve Goldhaber and
Mariana Goldhaber-VertensteinDianne and Kenneth HackettDavid HammerJon and Liz HinebauchBruce and Kyongguen JohnsonJennifer and Bob KamperCaryl and David KassoyMireille KeyAlice and Judah Levine
Albert and Virginia LundellHeidi and Jerry LynchKamilla MacarThomas and Gail MaddenCaroline MaldeNancy and John MalvilleMaxine MarkJ. Richard and Marjorie McIntoshPeter and Doris McManamonChristopher Mueller and
Martha WhittakerJoan NordgrenAlison and Graham OddieJoanie OramJulie and Wayne PhillipsArthur and Ina RifkinJoanna and Mark RosenblumJoAn SegalRuth Shanberge in memory
of Carol SeidemanTodd and Gretchen SlikerGrietje SloanCarol and Art SmootJan and Charles SquierHelen StoneBerkley TagueLaurie and Arthur TraversMary and Peter Van EttenBetty Van ZandtThomas VanZandtChristopher and Leanne WaltherBill WoodM. Yanowitch
The Takács Society is formed by the College of Music and provides the resources critical to supporting the work of the Takács Quartet—to advance their teaching endeavors, provide scholarships that are essential to attracting and retaining exceptionally gifted young artists and sponsor guest artists in the Takács performance series.
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If you would like to name a seat in Grusin Music Hall, please call the College of Music Development Office at 303-735-6070.
Make all gifts payable to the University of Colorado Foundation and mail to Takács Society, CU College of Music, 301 UCB, Boulder, CO 80309-0301. For credit card payments, questions or additional information, please call the College of Music Development Office at 303-735-6070.
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Friends of CU Opera
BENEFACTORAnonymousThe Academy Charitable
Foundation, Inc.Allen Family FundPaul EklundBob GrahamAnn Oglesby
SPONSORAlan and Martha Stormo
PATRONChris and Barbara ChristoffersenAlbert and Betsy HandBob and Mikee KapelkeKen and Ruth WrightWright Family Foundation
SUPPORTERAnonymousCaulkins Family FoundationJohn HedderichJo and David HillMikhy and Mike RitterRotary International District # 5450Lawrence and Ann Thomas
CONTRIBUTORDonna and Ken BarrowJim and Judith BowersWalt and Mary Ruth DuncanMartha Coffin Evans and
Robert TremblyDavid and Janet HummerHarold and Joan LeinbachBurr LloydDave and Ann PhillipsPeter Wall
MEMBERJudith Auer and George LawrenceBob Burnham and Gail PromboinAllene CashBen and Gale ChidlawWallace and Beryl ClarkPeter and Joan DawsonRichard and Margaret DillonEllen and John GilleSteve Goldhaber and
Mariana Goldhaber-VertensteinSusan GraberJanet HanleyLinda L. JohnsonFrank and Marion KreithNicholas and Mollie LeePatricia and Robert LisenskyHeidi and Jerry LynchBruce MackenzieMarian MathesonByron and Cathy McCalmonDenise McCleary and Paul Von BehrenCorinne McKayRichard and Donna MeckleyPat and Bob MeyersMarilyn NewsomMargaret OakesRobert and Marilyn PeltzerDennis PetersonJuan and Alicia RodriguezElaine SchnabelRuth SchoeningJoAnn Silverstein and Nevis CookHelen StoneDaniel Urist
GRANTSDenver Lyric Opera GuildGalen & Ada Belle Spencer FoundationLouis and Harold Price FoundationRoser Visiting Artist EndowmentThe Schramm Foundation
The CU Opera Program is recognized nationwide as one of the finest programs of its kind in the country. Its success is a reflection of outstanding faculty, exceptionally gifted students, professional production standards and ultimately, the successful placement of students after graduation in the professional world. You are invited to be a part of the tradition of excellence that has come to characterize CU Opera. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting CU Opera, please contact our development office at 303-735-6070.
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Season tickets on sale now!
University Theatre SeriesOur Town by Thornton Wilder (Sept. 26 - Oct. 5)A Broadway Christmas Carol by Kathy Feininger (Dec. 4 - 21)Tartuffe by Molière (Feb. 13 - 22)Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice (April 10 - 19)Irey Dance Theatre[UN] W.R.A.P.: Undoing Writing, Research and Performance (Sept. 12-13)The D.A.M. Show: Dance Art Media (Oct. 17-19)Liminal (Nov. 14-16)Catapult (Feb. 13-15)The Current (April 17-19)
Single tickets start at $12For full events listing: colorado.edu/theatredance
2014–2015 Seasoncupresents.org 303-492-8008
CU Theatre & Dance
New to the opera? Here are a few tipsCU Opera director Leigh Holman describes opera as “a thrilling spectacle, rich in emotion, drama and music.” But what if you are a newbie? We asked Leigh to answer a few questions about how to make the most of your CU Opera experience.
What is opera? It’s a venerable theatrical and musical art form in which singers and musicians perform a dramatic work that combines text—known as the libretto—and a musical score. Operas are sung, not spoken, and almost always performed in the language in which they were written, including Italian, German, French, Russian and English.
How will I understand what’s going on, especially if it’s in a foreign language? Your friends Google and YouTube are happy to help! You can find YouTube clips of arias—expressive moments when the singer is performing solo—songs and even entire performances of most traditional operas. It’s a great idea to read a synopsis online and the notes in your CU Presents program also offer great information. And CU Opera always provides a crib sheet, projecting supertitles in English for operas sung in another language.
Do you really have to dress to the nines when you go to the opera? It’s always fun to dress up. But hey, this is Boulder. You can wear tails and a top hat, pearls and a gown, jeans and a sweater or flip-flops and t-shirt—pretty much anything you like, though earmuffs or dark glasses will detract from your experience.
What should I listen for during the performance? First, pay attention to the overture—the musical number played by the orchestra to start the show often follows the emotional arc of the story—doom or joy, celebration or mourning—and is layered with themes and passages from the larger work. Singers, too, color and weight their voices to reflect mood and emotion. Listen carefully and you’ll be amazed to hear dark and light, good and evil, woe and happiness, just from the way they color their voices.
OK, I have to ask: What’s the story with the buxom lady wearing horns and braids? Oh, her? That’s just Brünnhilde, one of the Norse Valkyries in Wagner’s famous German opera, The Ring of the Nibelung. Besides being played by Bugs Bunny in the famous cartoon, What’s Opera, Doc?, she sings the long, final aria and has become inextricably linked with the art form for many non-aficionados. But don’t expect to see her at CU Opera … unless we’re doing Wagner!
CU Opera will perform Gilbert and Sullivan’s classic comic operetta, The Pirates of Penzance, Oct. 24-26 at Macky Auditorium. For tickets and information, go to cupresents.org or call the box office at 303-492-8008.
—Leigh Holman, director of CU Opera
Personnel
COLLEGE OF MUSIC ADVISORY BOARDRobert Shay, DeanJames R. Austin Chris BrauchliSteve BrunsBob BuntingJan BurtonJohn DavisPaul EklundBill wElliottMartha Coffin EvansJonathan FoxDavid FulkerGrace GammLissy GarrisonLloyd GelmanDoree HickmanDavid HummerDaryl JamesCaryl KassoyRobert KorenblatErma ManteyJoe NeglerSusan OlenwineMikhy Ritter, co-chair Becky Roser, co-chair Mark TezakJeannie ThompsonJack Walker
HONORARY DIRECTORSDean BoalBob CharlesEileen ClineDonna ErismannDave Grusin
CU Presents offers the very best in the performing arts on the CU-Boulder campus, including the Artist Series, Colorado Shakespeare Festival, CU Opera, the Takács Quartet, CU Theatre & Dance and the Holiday Festival.
Joan McLean Braun, Executive DirectorNick Vocatura, Operations DirectorLaima Haley, Marketing DirectorClay Evans, Communications DirectorDaniel C. Leonard, Marketing
and Public Relations CoordinatorKaren Schuster, Graphic DesignerRachel Dodson, Emily Scraggs,
Colin Wichman, Public Relations Assistants
Stephanie Doctor, Programs AssistantMargaret Romero, Production AssistantAndrew Metzroth, Box Office ManagerMichael Casey, Box Office Services
CoordinatorCiara Glasheen-Artem, Sydney Bogatz,
Starla Doyal, Lucas Munce, Harper Nelson, Melanie Shaffer, Bradley Steinmeyer, Box Office Assistants
Kevin Harbison, Recording EngineerNancy Quintanilla, Financial ManagerTed Mulcahey, Piano Technician
MACKY AUDITORIUM STAFF Rudy Betancourt, DirectorSara Krumwiede, Assistant DirectorJohn Jungerberg, Operations ManagerJP Osnes, Technical DirectorRojana Savoye, House Manager
Program editor: Clay Evans Cover design: Karen Schuster
PATRON INFORMATION• CU Presents venues are fully accessible to
patrons using wheelchairs and those with other special needs. Please call the box office as early as possible at 303-492-8008 to make arrangements.
• Parking is available in the Euclid Avenue Autopark, Lot 310, and Lot 204 for $4 per evening or weekend day. Lot 380 is reserved for VIP members of the Artist Series. Drop-off and handicap parking is available near all venues. For more information please call the box office at 303-492-8008.
• Food is permitted in seating areas of Macky Auditorium and the Mary Rippon Outdoor Theatre, but prohibited in other campus venues unless otherwise noted.
• Photographic and recording devices are prohibited.
• All programs, artists and prices are subject to change.
• All sales are final. Subscribers may exchange tickets for another night or performance with no exchange fee; single-ticket exchanges are subject to a $3 per ticket fee. Exchanges are subject to availability and must be made at least one business day prior to performance; an upgrade fee may apply.
• CU presents will hold all events as scheduled unless the CU-Boulder campus is closed due to hazardous weather. We will make every effort to notify patrons of an emergency closure. For detailed information on the Colorado Shakespeare Festival’s rain policy, please visit coloradoshakes.org.
• Patrons are encouraged to call CU Presents at 303-492-8008 for information on the suitability of events for children.
• Patrons are encouraged to refrain from wearing strong fragrances.
• Can’t use your tickets? Return them to the CU Presents box office as a tax-deductible contribution prior to the beginning of the performance.
• The University of Colorado Boulder is a smoke-free campus.
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