Ovation Magazine Holiday 2012

NEWS, EVENTS AND ACTIVITIES OF OPERA COLORADO | FALL 2012

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Learn more at SantaFeOpera.org.

ONLY IN NEW MEXICO.ONLY AT THE SANTA FE OPERA.

2 0 1 3 S E A S O N • J U N E 2 8 - A U G U S T 2 4

The Grand Duchess of GerolsteinO F F E N B A C H

Susan Graham, Paul Appleby, Kevin BurdetteConductor Frédéric ChaslinStage Director Lee Blakeley

La TraviataV E R D I

Brenda Rae, Michael Fabiano, Roland WoodConductor Frédéric ChaslinStage Director Laurent Pelly

OscarWorld Premiere

T H E O D O R E M O R R I S O NDavid Daniels, Heidi Stober, William Burden

Conductor Evan RogisterStage Director Kevin Newbury

The Marriage of FigaroM O Z A R T

Lisette Oropesa, Susanna Phillips, Daniel OkulitchConductor John Nelson

Stage Director Bruce Donnell

La Donna del LagoR O S S I N I

Joyce DiDonato, Lawrence Brownlee, Marianna PizzolatoConductor Stephen LordStage Director Paul Curran

Opera Colorado’s 30th Anniversary Season will fulfillour commitment to balance each season withtime-honored treasures that you see rarely in

Denver; productions you know and love; and brilliantnew work. We open the season with Romeo and Juliet,an opera we last performed in 1999, giving ouraudience an opportunity to return to a classic. We knowthat the Opera Colorado audience will embrace DonGiovanni, a wonderful and familiar work. Finally, we arethrilled that this season concludes with the WorldPremiere of Lori Laitman’s The Scarlet Letter.

While each of these productions extends our 30-year history of high quality opera performance, eachalso gives Opera Colorado the opportunity to reveal innew ways some of the most compelling characters inliterature. Romeo, Juliet, Don Juan, Hester Prynne andArthur Dimmesdale are unforgettable characters and we

are enriched as we step into their stories and experience the consequences of their choices. Thethree stories we present this year endure because they are great works of art. The three operaselevate the experiences of these memorable characters, lifting them off the page and bringing themto life in front of us.

I am particularly proud that we are able to offer to Opera Colorado’s audience the world premiereof The Scarlet Letter. It is a powerful, American story with a heroine whose inner strength and self-reliance make her as extraordinary as any in opera. Last season, Pamela Armstrong’s Florencia wastransformed before our eyes and carried us with her as she expressed her undying love for Cristóbalin Daniel Catán’s Florencia en el Amazonas. I have no doubt that this season holds the same promiseand we will be changed by Elizabeth Futral’s Hester Prynne.

Welcome to our 30th Anniversary Season!

Michael Hughes

Ovation! Magazine and In-Theatre programs are produced for Opera Colorado by The Publishing House.

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BOARD OF DIRECTORSOfficersMichael Hughes, ChairKenneth Barrow, Chair EmeritusEllie Caulkins, Lifetime Honorary ChairMarcia Robinson, PresidentCharles Kafadar, Treasurer, President of the

Opera Colorado FoundationSusan Adams, SecretaryDirk de Roos, Vice President, General CounselCarol Crossin Whitley, Vice President

Committee ChairsStephen L. Dilts, Co-Chair, Education &

Community ProgramsJoy Dinsdale, Co-Chair, Education &

Community ProgramsCraig Johnson, Chair, Development CommitteeLarry Zimmer, Chair, Audience Development Committee

Greg Carpenter, General Director

AADDMMIINNIISSTTRRAATTIIOONNDarrel Curtice, Director of Finance & AdministrationJulie Nowasell, Staff Accountant

AARRTTIISSTTIICC AANNDD PPRROODDUUCCTTIIOONNBrad Trexell, Director of Artistic OperationsHally Albers, Production Manager

DDEEVVEELLOOPPMMEENNTTDan Hanley, Director of DevelopmentIsis King, Manager of Development SystemsFelicia Diamond, Development Consultant

EEDDUUCCAATTIIOONNCherity Koepke, Director of Education &

Community ProgramsMeghan Benedetto, Manager of Education &

Community ProgramsEmma Martin, Education Intern

MMAARRKKEETTIINNGGCamille Spaccavento, Director of Sales &

MarketingErin Acheson, Marketing & Promotions CoordinatorLaura Kirby, Ticket Services ManagerKatie Bulota, Assistant Ticket Services Manager

OPERA COLORADO STAFF

DDiirreeccttoorrssBruce AllenSheila BiseniusMichael BockSuzanne Dost BucyMary ConroyJill Irvine Crow,

Honorary DirectorNellie Mae Duman,

Honorary DirectorJack FinlawHugh GrantCharles KafadarJeremy Kinney,

Honorary DirectorLoring W. Knoblauch,

Lifetime HonoraryDirector

The Honorable Kenneth M. Laff

Kelly McCourtKalleen MaloneWilliam ManiatisPamela MerrillMary French MooreGerald SaulAlessandra SchuleinJeremy Shamos,

Honorary DirectorSusan Shamos,

Honorary DirectorShirley SmithHarry SterlingRobert SwiftMartha TraceyByron WatsonBritney WeilRandall Zisler

OOvvaattiioonn!! NNeewwss,, EEvveennttss aanndd AAccttiivviittiieess ooff OOppeerraa CCoolloorraaddooVolume 14, Issue 1. Published quarterly for the benefit offriends and supporters of Opera Colorado, 695 S.Colorado Blvd. Ste. 20, Denver, CO 80246.Phone: 303.778.1500. www.OperaColorado.org.

Produced by Opera Colorado’s Marketing andDevelopment Departments.Editor: Camille SpaccaventoAssistant Editor: Erin Acheson

OVATION! | Fall 2012 | Page 4

FROM THE BOARD CHAIR

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THIS NOVEMBER 1ST, 2ND AND 3RD DON’T MISS OUR EXCITING OPERA CABARET

NOV. 1 | 2 | 3 | 7:30 PM | THE STUDIO LOFT@ELLIE CAULKINS OPERA HOUSE Featuring a hysterically funny spoof on TV soap operas!

A casual cabaret-style program performed by our stellar Young Artists. Enjoy a night

out with cocktails and light appetizers and a program featuring Douglas Moore’s

Gallantry, a spoof on TV soap operas, and songs by Cole Porter and William Bolcom.

It’s an evening not to be missed – but hurry, seating is limited!

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C ontrary to popular belief, opera is not an antique art form. Opera companies are the recipients of severalnew scores from new and established living composers over the course of a year. Finances may precludethe production of a new work, a composer’s subject may be deemed too obscure or his or her work too

niche for the average opera company or its audience. Due to the harsh financial realities of opera, very few newworks have the opportunity to see the light of day. So how did Opera Colorado come to present this new operaby Lori Laitman? Several Opera Colorado staff members attended the Opera America conference in Los Angelesin June of 2010. Apart from the usual group sessions organized for any conference related to any line of work,possibly the most valuable aspect of the conference is the chance to meet new colleagues and becomereacquainted with old ones in between sessions. During one such meet and greet I was approached by BethGreenberg, an old colleague who had been assistant director at San Francisco Opera. She handed me a CD anda Scarlet Letter postcard and asked me to listen to the demo recording. Beth had been working as a sort ofdramaturge on the new piece, alongside composer Lori Laitman and librettist David Mason, and had been deeplyinvolved in the creation of the opera. Upon returning to Denver, I listened to the CD, and liked what I heard. I didsome research on the composer and the piece, roles and orchestration, and listened to a lot of Lori Laitman’s artsongs. Believing the music was extremely engaging, and always having had a fondness for Hawthorne’s story, Itook the materials to Greg Carpenter, General Director, who agreed. Together, we determined that it would be anideal offering for the anniversary season.

Opera Colorado’s 30th Anniversary season will be a veritable grand tour of the great literature and music ofEurope and America, bringing together the operatic versions of three legendary literary classics: Gounod’s (andShakespeare’s) Romeo and Juliet, Mozart’s Don Giovanni and Lori Laitman’s (and Nathaniel Hawthorne’s) TheScarlet Letter.

Choosing the titles for any season of three operas is always the most challenging aspect of creating a season.Our current recipe includes presenting one beloved “blockbuster” opera combined with one well-known, butperhaps slightly less seen work, and adding a work that is completely new to Opera Colorado audiences. On topof that, we try to make sure we have a varied menu of musical styles, settings and languages, perhaps a nicebalance of comedy and tragedy, and we try to make sure this combination will form an interesting and cohesiveseries for our audiences. We also like to make sure we haven’t produced any of the titles too recently!


2013

SEA

SON

BY LORI LAITMAN

BY W.A. MOZART

BY CHARLES GOUNOD

By Brad Trexell, Director of Artistic Operations

The 30th Anniversary season will open on February 9th with possiblythe world’s greatest love story, Shakespeare’s Romeo and Juliet, inoperatic form by Charles Gounod. His romantic and melodic Roméoet Juliette received its premiere in 1867, two years after thecomposer’s wildly successful and well known Faust. Our traditionalproduction will feature returning Opera Colorado favorite AAvvaa PPiinnee(replacing previously announced Heidi Stober), and GGiiuusseeppppee VVaarraannoo,making his OC debut, as the immortal star-crossed lovers. They willbe joined by Daniel Belcher as Mercutio, John McVeigh as Tybalt,Stephen Morscheck as Lord Capulet, Kevin Langan as Frère Laurent,and long-time Opera Colorado star Marcia Ragonetti returns asJuliet’s nurse Gertrude. Robert Wood conducts the sumptuous scoreand Bill Murray directs the production. Last seen at Opera Coloradoin 1999, Gounod’s alternately heart-pounding and tender musicmakes a welcome return to our stage.

On March 30th, Mozart’s perennial favorite Don Giovanni opens,bringing one of opera’s most amoral and equally repellant andcharming characters to the stage. Based on Tirso de Molina’s play ElBurlador de Sevilla y Convidado de Piedra (The Jokester of Sevilleand the Stone Guest) Mozart’s masterpiece is often considered astrictly serious opera. However, the English translation of the play’stitle clarifies the true intent of Mozart’s exquisite “dramma giocoso”or Dark Comedy. It is difficult to conceive of a season without thealways popular Mozart. Last seen at Opera Colorado in 2003, DonGiovanni is considered by many to be one of the greatest operas everwritten, and over the centuries since its premiere it has had aprofound effect on other artists, authors and composers.

Opera Colorado’s version is set in 1950’s La Dolce Vita Italy andfeatures an entire cast of talented company debutants. CChhrriissttoopphheerrMMaaggiieerraa makes his Opera Colorado and role debut as theeponymous lecherous seducer. Well known for her searing portrayalof Donna Anna is EElllliiee DDeehhnn, and MMeellooddyy MMoooorree sings thetreacherous role of Donna Elvira. The role of Giovanni’s servantLeporello will be sung by Matthew Treviño, and Jonathan Boyd (DonOttavio), Maria Lindsay (Zerlina), Christian Bowers (Masetto) andRichard Wiegold (The Commendatore) complete the roster of artistswho will bring Mozart’s “dramma giocoso” to life.

What is an anniversary without something very special tocommemorate the event? In this 30th Anniversary Season OperaColorado turns to a brand new opera based on what is considered bymany to be the first great American novel, Nathaniel Hawthorne’sThe Scarlet Letter. Still a staple of literature in the schoolroom andfamiliar story to most Americans, Hawthorne’s spellbinding story of apresumed young widow in Puritan early America who falls into anaffair with the town minister who comes to provide spiritual guidanceand counsel to her. The affair can no longer be hidden when Hesterbears a child that results from the liaison, and rather than divulge herpartner’s name, she remains silent, defiantly bearing the punishmentand scorn of her entire community alone. American composer Lori


AAvvaa PPiinnee

GGiiuusseeppppee VVaarraannoo

CChhrriissttoopphheerr MMaaggiieerraa

EElllliiee DDeehhnn

MMeellooddyy MMoooorree

JJaammeess VVaalleennttii

MMoorrggaann SSmmiitthh

EElliizzaabbeetthh FFuuttrraall

Continued on page 10

Laitman, creator of more than 200 art songs and the critically acclaimedoratorio Vedem, together with Colorado Poet Laureate David Mason,have woven a dramatically intense opera written in verse. Laitmanstitches her melody directly to the text of the poets with whom sheworks until words and music are one and the same, supporting eachother and inseparable. The sounds she creates are melodic and firmlybased in the psychological mood and text of her characters.Opera Colorado will create a brand new production for this worldpremiere to be directed by Beth Greenberg who has collaborated withLaitman and Mason on the dramaturgical aspects of the new work forthe past several years. The set designer, Erhard Rom, and LightingDesigner, Robert Wierzel, are responsible for the Rusalka productionseen here in 2011. They will be joined by Costume Designer TereseWadden, who will create the clothes for the inhabitants of Hester’scommunity, and its one outsider.

Programming any new operatic work is a bit of a leap of faith. It isalways hoped that a new work will capture the public’s imagination,both because of the finances involved, but also because so much time– years, in fact –, care and love is lavished on any new opera. HearingDavid Mason’s poetry set to Lori Laitman’s beautiful music, and knowingthe familiarity of this American literary masterpiece was enough toconvince us you just had to hear it too.

To bring Lori’s vision to life, we have assembled a dream-come-truecast. The role of Hester Prynne will be created by none other than

soprano EElliizzaabbeetthh FFuuttrraall, last seen at Opera Colorado in 2005 asCleopatra in Handel’s Julius Caesar. Making his Opera Colorado debutas her lover, the Rev. Arthur Dimmesdale, is renowned American tenorJJaammeess VVaalleennttii, and rounding out the trio as Hester’s presumed-deadhusband Roger Chillingworth, is baritone MMoorrggaann SSmmiitthh, our spectacularMarcello in 2010’s La Bohème. Catherine Cook (Jezibaba in 2011’sRusalka) sings the role of Mistress Hibbons, John Hancock debuts in therole of Governor Bellingham and Joel Sorensen debuts as church elderJohn Wilson. Every one of Opera Colorado’s Young Artists will appear ina featured role. For many in the cast who have chosen a professionperforming music that is often hundreds of years old, the opportunity towork with a living composer and librettist may be a once-in-a-lifetimeopportunity. For a conductor, having composer Lori Laitman present inrehearsals will be an absolute luxury. Imagine how many times aconductor has wanted to turn to ask Verdi just how fast a particulartempo should be, or ask Mozart just how loud the horns should be in acertain passage!

Opera is a living art form, performed live. We believe we cannot onlypresent centuries-old masterpieces of the art form if we wish tocontinue into the future, but we also have the responsibility to fosternew works, new composers, and new artists. By presenting The ScarletLetter, with a new composer and a new opera based on the Americanclassic, the past and present become one and we can actually have it all!


2013 Season Continued...

100% goes to charity

Support us on Colorado Gives Day!Tuesday, December 4online at GivingFirst.org

24 hours to give where you live

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WHEN YOU’RE A SEASON TICKET HOLDER AT OPERA COLORADO,

YOU FEEL THE LOVE. Save 20% when you buy all three operas at once.

Get extra savings for extra tickets. Pay half now, half later for your tickets. Enjoy free ticket exchanges (subject to availability).

TRUE LOVE, DAY OR NIGHT.WHEN WOULD YOU LIKE TO COME SEE US? YOU HAVE CHOICES AS A SEASON TICKET HOLDER. Saturday evenings (opening nights) Tuesday evenings Friday evenings Sunday afternoons

ENTER TO WIN A GIFT CARD TO THE CHERRY CREEK SHOPPING CENTER!Visit www.operacolorado.org/cherrycreek for your chance to win a $250 gift card to use towards merchandise or dining at the Shops at Cherry Creek.Enter by 5:00 pm on Friday, November 30, 2012, for your chance to win. No purchase necessary. Winner will be notified the week of December 1, 2012, and gift card will be mailed.

BY CHARLES GOUNOD

BY W.A. MOZART

BY LORI LAITMAN

WORLD PR

EMIERE

Opera Colorado began the celebration of our30th Anniversary year with our Gala thateveryone who attended won’t soon forget. Ourold friends Kelly Kaduce and Catherine Cookfrom Rusalka joined us and performed with ournewly arrived Young Artists to start the eveningoff with beautiful song. With the amazingsupport of co-chairs Mike and Julie Bock andthe overwhelming generosity of Vectra Bank,The Publishing House, alphagraphics, RassmanDesign, Kevin Taylor’s at the Opera House,Republic National Distributing Company, andJim Berz from WOW Events, we were able tosurpass our fundraising goal. The eveningconcluded with dancing on the stage of the Ellieto music performed by Moses Jones. We areincredibly grateful to everyone who made ourGala the extraordinary success that it was andwe very much look forward to seeing you at our2013 Gala!

Gala2012

By Dan Hanley, Director of Development


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Classical Music for the GRAMMY Awards

Reviving 5,000 years of civilization

I love the classics. Classic cars, classic design, classic fashion; you know, things thatnever go out of style. This extends to my love of operas that are considered to beclassics too. La Bohème, Madama Butterfly, La Traviata; the big hitters. So, when it

came time to select our new touring opera, I knew I wanted to go classic. Wouldn’t itbe wonderful to take one of these masterpieces out into the Colorado community?

First, I needed to select the work itself. The new touring opera needed to besomething appropriate for all ages but one that was especially good for youngeraudiences. I wanted a comedy since we would also be touring Carmen and that’s notexactly light fare. It also had to be something that could be successfully abridged froma full-length opera with a large cast to something that runs about 45-minutes and isperformed by a cast of five. You can cut anything down, but for it to be a seriousconsideration for me it has to retain the core of the original work. No easy feat. I tosseda few ideas around, but one opera kept coming back to me: Rossini’s The Barber ofSeville.

The decision was made. The new touring production for 2012-2013 would be TheBarber of Seville. As the process of abridging the score began, I also had to startthinking about the logistics of the set and costumes. I had serious limitations to workaround. Everything had to fit into the back of a GMC Yukon and we had to be able toset it up and break it down by ourselves in less than 30 minutes. Once logistics wereaddressed, I had to start thinking about the look of the production. What kind ofproduction did I envision? Did I want a faithful historic representation or did I want toupdate it and make it modern or even futuristic? For me, the answer was again, classic.The next step? Design.

When I design a production, I always have something that serves as my inspirationpiece; something that guides me as I choose the look of the sets and costumes. For

The Barber of Seville, my creativity was instantly sparked by two renowned classics. For the costumes, myinspiration was the classic film, The Great Race. For the set... classic cartoons. Not just any cartoons mindyou, but those brilliant animated comedies starring Pepe le Pew. Even though it’s technically set in Seville,the set would be quite Parisian in nature with lots of curves, angles and swirls. Nothing would be straight,everything would feel just a little out of order; a little outside the realm of reality. The costumes would be anhomage to melodrama. Our hero would be dressed all in white, our villain in black, our heroine a demuredamsel in distress in ruffles and bows. But, it would all be delivered with a twist to keep it fresh and relevantfor today’s audiences.

Now I was getting somewhere. Design concepts in place, I met with my assistant director just to verify

A Classic Hits The Road


One wears many hats working at anon-profit arts organization. Duringmy career in the opera world thus

far, I have done everything from attendingfancy galas to walking a soprano’sMaltipoo during rehearsals. So, when Cherity told me Iwould be the assistant director of Opera Colorado’soutreach production of The Barber of Seville, I said yes!Wait, did she ask me or tell me? It didn’t matter because Iknew that this would be a valuable experience and unlikeanything I’ve previously done. The design process beganright away as I sat in on meetings with the set and costumedesigners. Hearing the ideas bounce back and forth andtheir vision slowly materialize was exhilarating.

Now that rehearsals are just around the corner and Istill don’t have a grasp on exactly what I will be doing whilein the rehearsal room, I decided to broach the subject withCherity as we were driving to a meeting. I had an image ofan assistant director in my head- casually dressed, sittingat the rehearsal table next to the director with a largecollection of office supplies surrounding her, including butnot limited to pens, highlighters, and every type of stickynote and page flag that Post It has ever created. She isfuriously writing in a huge binder. Ok, I can do that: jeans,check, Post Its, check. But what was she writing?! There ismore to the picture than what is in my head. ““So… um…Cherity? What should I prepare for the Barber rehearsals””Her answer lifted a weight off my shoulders. As assistantdirector, I would be responsible for writing blocking (staging)in the score, managing the prop list, and possibly runningrehearsal in Cherity’s absence. With my background inmostly administration, I’m really looking forward to taking abreak from sitting behind a desk and delving into thecreative side of opera.

From just knowing the caliber of artistry in both thesingers and design team, I already can tell you that thisBarber of Seville production is a must see. It’s the perfectway to introduce your children to the joy of opera. Pleasecheck our website to see upcoming communityperformances.

By Meghan BenedettoManager of Education & Community Programs

TThhee BBaarrbbeerr ooff SSeevviilllleeOOppeerraa CCoolloorraaddoo EEdduuccaattiioonn//OOuuttrreeaacchh TToouurr 22001122.. DDeessiiggnneerr:: BBrruuccee AA.. BBeerrggnneerr

By Cherity Koepke,Director of Education & Community Programs

Continued on page 17

And what a year it will be.

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that even though I was using Looney Toons as inspiration, I, in fact,was not loony for going this route. Even though this would be the firstproduction that Meghan worked on as an assistant director, I knew Icould count on her to be honest with me. I was delighted to hear thatshe loved the concept. After some fine tuning of ideas and finalizingthe abridged version, we had a good idea of where we were headed.We were ready to meet with the set and costume designers.

The design team is an integral part of creating a qualityproduction. I am fortunate to be able to work with a group of peoplewhose talents simply amaze and astound me. I call them “TeamGenius.” We’ve worked together on three touring productions andwe’ve become a well-oiled machine. I’m incredibly lucky and I knowit. The world of production design doesn’t always work this way.

The first meeting is with Bruce Bergner, our set designer.Meghan and I sit with him and I present my inspiration pieces. Helooks them over and asks a few questions to get a general idea ofwhere I’m heading. Bruce then basically tells me to dream out loud.I paint a picture with words, telling him what I’ve been imagining forthe past several months. Meghan adds in her own point of view andBruce, being the genius that he is, finds a way to bring it all together.He makes suggestions, we comment back. His expertise helps uscomplete the picture. For The Barber of Seville set, he comes up withthe idea to paint decorative frames around each scene. This will notonly help with the feel of the cartoon world that I’m going for, but willground each scene so that they will feel more like separate rooms,like individual animation cells that the characters step out of. Now wecome to the big challenge; and I always hand him one. I’ve asked foran opening to be cut into the backdrop so that we can use it as adoorway. This is a major hurdle, engineering is involved. But Brucecomes up with an idea and takes it to our set builder, also a genius,Ron Mueller. Together they are able to come up with a solution. We’llhave a doorway in the backdrop, but that’s not all. We’ll also haveanother, smaller backdrop painted to look like a hallway. This willmake the doorway appear to be part of the house and also hide thebackstage area from the audience. See... geniuses.

Meghan and I then meet with our costume designer, Ann Piano.Ann has been with Opera Colorado for a while now and she knowsthe challenges that come with a touring production. I show herimages from my inspiration piece, The Great Race, and she instantlyknows what I’m going for. We talk about colors, fabrics and smalltouches that will help create believable characters. We meet again afew weeks later and Ann has pulled costumes that she feels mightwork. Just what I suspected. She’s a genius too and the costumesare going to be fabulous. That same week, I get the black and whiteset renderings from Bruce. This is an exciting time as a director. It’sthe first chance I have to see my ideas come to life. We tweak a fewthings and just days later I have the final color renderings. Meghanand I look at them and all we can do is smile. It’s like looking at aclassic cartoon. Any second you expect to see Pepe le Pew orSnidley Whiplash come around the corner in the drawing. Our designteam has created something amazing, something that lived in myhead for the better part of a year. It’s truly unique and whimsical andaudiences are going to love it. The phase of building the set andcostumes begins. In just a few weeks, the Young Artists will be hereand Meghan and I will go into rehearsals. At the beginning ofOctober, we’ll have The Barber of Seville ready for performances. Ican hear it in my head now. Students all across the state of Coloradoare going to be learning about opera and singing Figaro... Figaro...Figaro...! It doesn’t get much more classic that that.


A Classic Hits the Road Continued...

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O pera Colorado offers one of the largestand most immersive arts educationprograms in the state, reaching over

35,000 people during the 2011-2012school year. The Education & CommunityPrograms staff (of two!) works tirelessly totake opera into the field, Colorado’s schoolsand communities, to ensure that as manychildren and adults as possible are touchedby the power of the arts. It’s a big job. Butthe staff does have a secret weapon – TheOpera Colorado Young Artists.

The Young Artists are at the core of oureducation programs. These talented singersare selected for a seven-month residencyduring which time they receive trainingfrom staff and guest artists, learn newroles, and perform alongside professionalsingers, all while serving as arts educationambassadors across the state.

I sat down with Cherity Koepke, OperaColorado’s Director of Education &Community Programs, who also directs theYoung Artists, to find out the process offinding these up-and-coming vocal stars.

WWhhaatt ddoo yyoouu llooookk ffoorr iinn aa YYoouunngg AArrttiisstt??WWhhaatt ttyyppee ooff eexxppeerriieennccee sshhoouulldd tthheeyy hhaavvee??

Our young artists need to have theirMaster’s degree in vocal performance. Ittells me they have spent six years of theirlives learning the technique they need toknow before they get here. A Bachelor’sdegree is great, but most singers aren’tready to go straight into a young artistprogram at that point. They need to knowhow to take care of themselves, beresponsible for their own schedule, theirown health. They need to have been onstage and performed a role. That kind ofknowledge and those kinds of experiencesare more likely to happen when pursuing aMaster’s degree.

DDoo tthhee ssiinnggeerrss’’ ppeerrssoonnaalliittiieess ppllaayy aa rroollee iinnyyoouurr ddeecciissiioonn?? DDoo yyoouu ttrryy ttoo mmaakkee ssuurreeeevveerryyoonnee wwiillll ggeett aalloonngg??

This is huge, and the hardest part of theaudition process. I get about 8-10 minuteswith each candidate during their audition.Someone can sing the heck out of an ariaand not show who they really are as aperson. The singers we select will be withOpera Colorado for seven months. I need toknow that they can get along with eachother as well as the staff they will be

working with. In the audition, I have toengage them to see if they will be a good fitwith the organization and one another.

HHooww mmaannyy ssiinnggeerrss aauuddiittiioonn ffoorr tthhee OOppeerraaCCoolloorraaddoo YYoouunngg AArrttiisstt pprrooggrraamm eeaacchh yyeeaarr??

We typically receive between 300-500applications. We will schedule around 150live auditions, and then from that group wechoose 5. It’s incredibly competitive and thecaliber of applicants gets higher every year.We do a nationwide search, and we evenget international applicants though we arenot yet equipped to handle them due to thelevel of paperwork and requirementsinvolved. Maybe someday!

TThhee ssiinnggeerrss aauuddiittiioonn iinnddiivviidduuaallllyy.. HHooww ddooyyoouu kknnooww tthheeiirr vvooiicceess wwiillll bblleenndd wweellllttooggeetthheerr??

I have to have a really good memory. Ican hear their voices in my head and I filethe serious ones away to compare later on.If I want a baritone with a big voice, I knowI need to find a soprano and mezzo who canmatch it. I have to make sure the vocalist issinging the right repertoire for his or hervoice, that the voice can stand alone andbalance with others, and that he or she hasa good stage presence. I don’t hear all theYoung Artists together for the first time untilabout a week into their residency.

I’m also lucky to have a fabuloussupport system in Greg (General Director)and Brad (Director of Artistic Operations).They are with me at auditions to givefeedback and help me analyze the voices.They may hear or notice things that I didnot. Not every Director has that kind ofsupport and I believe it’s one of the thingsthat makes our program strong.

WWhhaatt kkiinndd ooff eexxppeerriieennccee ddoo tthhee ssiinnggeerrsshhaavvee aass aa YYoouunngg AArrttiisstt wwiitthh OOppeerraaCCoolloorraaddoo??

There are different kinds of young artistprograms. Some focus on singing andtechnique; ours focuses on performanceskills which I’ve found that many collegiatesystems don’t make a priority. They performregularly in front of live audiences andreceive regular vocal and drama coachings.From this program, they will be able to gointo any performance setting with the skills

Weapons of Mass Instruction


Continued page 20

MMoorrggaann HHaarrmmiissoonn,, Soprano

CCaassssiiddyy SSmmiitthh,, Mezzo-Soprano

JJoosshhuuaa BBoouuiilllloonn,, Tenor

AAlleexx DDeeSSoocciioo,, Baritone

JJaarreedd GGuueesstt,, Baritone

By Erin Acheson, Marketing and Promotions Coordinator


they need to do well. What also sets us apart from otheryoung artist programs is that our singers not only get theexperience of performing in the community through tours andschool programs, but they get main stage opera experience.They are cast as roles in our main stage productions – that’sa huge opportunity. The student matinee is also a greatopportunity for them – they perform an entire role withorchestra. Many young artist programs are either allcommunity based or all main stage based. I think the mix ofeducational and main stage opportunities gives them a uniqueperspective about the art form they have chosen as a career.

WWhhoo aarree tthhee 22001122--1133 OOppeerraa CCoolloorraaddoo YYoouunngg AArrttiissttss??Morgan, our soprano, had a broken foot when she

auditioned for us. There she was, standing with her cast – adifficult obstacle – and she was vibrant and vivacious. Shehas a gorgeous, sparkling top to her voice. She will be abeautiful Juliet.

We were excited to hear Cassidy, our mezzo-soprano. Sheis local, a DU grad, and has sung with the Opera Coloradochorus in some past productions. Cassidy has the most even,beautifully colored mezzo voice – all the ranges connectperfectly. She is super secure as a singer, which is importantas she’ll be singing Carmen and Rosina…tough stuff!

Our tenor Joshua (Cherity laughs)…three notes into his

first piece I put my pencil down and stopped taking notes. Hecaptured my attention immediately. He has a warm, romantic,gorgeous voice. He’s very charismatic. Our audiences will bedrawn in by him.

Alex, one of our baritones, is a hoot. His personality justleaps off the stage through his acting and singing. He haswhat I call an “old school” baritone voice – he has the bottomyou expect and the top you wouldn’t and it’s thrilling to hear.Just awesome!

Our second baritone, Jared, started with an unexpectedcomedic aria. It immediately showed us his personality andsense of humor. Then he sang a second aria that was acomplete contrast, stunningly beautiful. He has a big, lushvoice and can sing the pants off his roles but he can also actand be goofy; a valuable quality for a baritone.

They’re going to be a great group! It will be a challengingyear for all of them. This is not an easy residency – they areincredibly busy and will have long hours. It is a test to see howthey handle themselves and adapt to living as a professionalsinger. Opera Colorado gives them the tools and support,making sure they remain vocally healthy and sing the rightroles for where they are in their careers. Not all programs dothat. We look out for them in this program; these are their firststeps on their own, the first steps of their professionalcareers.

Weapons of Mass Instruction Continued...

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OOtthheerrss ooff nnoottee::

PPuucccciinnii:: TTuurraannddoott –– 11998844:: It was an expensive reach for a newcompany – only our second season – but the production and thesinging alike still provoke fond memories. Eva Marton’s turn in thetitle role included a vivid red costume that reminded the audience ofTurandot’s bloody mission to fend off love.

SSaaiinntt--SSaaëënnss:: SSaammssoonn aanndd DDeelliillaahh –– 11998877:: Samson – sung by JonVickers – literally brought down the house, and some patrons wenthome with faux rock fragments from the pillars of the temple. Stagedat Boettcher, it was like being in the temple as the walls fell.

VVeerrddii:: LLaa TTrraavviiaattaa –– 11998899:: With the great Sherrill Milnes as Giorgio Germont, herewas a production where Father Germont's power over Alfredo and Violetta wasespecially believable: his was a voice not to be denied. Appearing with Milnes in

that production were soprano Diana Soviero and tenor WalterMacNeil.

RRiicchhaarrdd SSttrraauussss:: DDeerr RRoosseennkkaavvaalliieerr –– 11999944:: Not quite as grand inscale as Meistersinger, but still an expansive work that stretched ourcompany and our audiences, while filling the stage with gloriousmusic. The sets and the singing alike had all the white-and-silverbeauty of a wedding cake, though with more enduring memories.The leading ladies’ final trio was well worth the wait.

Thirty Years of Opera Colorado!!!2013 is the thirtieth year of Opera Colorado, with some five dozen different operas having found a place in ourrepertoire. Some of the most familiar ones appeared in the schedule multiple times; others only once.However, what they all have in common is a devotion to communicating to the audience the power and gloryof live opera, from Baroque works to the present day.

In honor of our anniversary, we invited a variety of Opera Colorado fans and supporters – both long-timeand newer to our offerings – to share their thoughts about favorite memories of particular productions. Thanksto Ellie Caulkins, Pam Merrill, Terry Frazier, Greg Carpenter, and Betsy Schwarm for offering their suggestions.

TThhrreeee ttoopp ffaavvoorriittee pprroodduuccttiioonnss tthhaatt aappppeeaarreedd oonn aallmmoosstt eevveerryyoonnee’’ss lliissttss::

WWaaggnneerr:: DDiiee MMeeiisstteerrssiinnggeerr vvoonn NNüürrnnbbeerrgg –– 11999922::Our first Wagner opera, and the first live Wagnerseen by many of our audience. It’s still thegrandest thing we’ve done – with everything fromfestival banners to street brawls – and Nat Merrill’sdirection is fondly remembered for how hemanaged to keep all those dozens of singers busy,without neglecting the music.

AAddaammss:: NNiixxoonn iinn CChhiinnaa –– 22000088:: Our first bigplunge into contemporary opera, in a grand andexciting production that achieved the near-impossible: letting music give us a sympatheticview of Richard Nixon. Rediscover it in thefavorably-reviewed CD recording with the ColoradoSymphony and Marin Alsop.

BBiizzeett:: TThhee PPeeaarrll FFiisshheerrss –– 22000099:: A wealth ofgorgeous, rarely-heard music in a splendidlycolorful production (by Zandra Rhodes) that vividlycaptured the exotic Sri Lankan setting. Here was adelightful chance to find out what else Bizetcomposed other than Carmen: no gypsies, butplenty of beautiful singing.

By Betsy Schwarm


TTuurraannddoott

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LLaa TTrraavviiaattaa

DDeerr RRoosseennkkaavvaalliieerr

Continued page 24

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MMoozzaarrtt:: AAbbdduuccttiioonn ffrroomm tthhee SSeerraagglliioo –– 22000066:: JimRobinson, the company’s former artistic director,staged this one not in a Middle Eastern palace asMozart had intended, but instead on the OrientExpress. That decision brought new energy to thisclassic opera without leaving the music out of thespotlight. The production was so well-received, andso admired by other opera companies, that OperaColorado is still receiving rental revenue due to itspopularity nationally.

DDvvooˇrráákk:: RRuussaallkkaa –– 22001111:: Here we brought together 21st century technology with a very early 20th centuryopera, one that had long reigned at the top of some opera fans’ lists of operas they hoped we’d present.Those who only knew the composer from his “Symphony from the New World” had the chance to find thatDvorák had a flair for the stage as well, especially with Kelly Kaduce in the title role of the lovelorn water sprite.

CCaattáánn:: FFlloorreenncciiaa eenn eell AAmmaazzoonnaass –– 22001111:: Here was proof that contemporary opera can be beautiful andaccessible, in this case further buoyed by impressive and evocative special effects, bringing the Amazon intothe Ellie. The production was the first new one since the opera’s premiere in 1996, a fact the composerappreciated. Having local bass-baritone Keith Miller in the production was icing on the cake.


We’ve limited the list to ten operas, so as to have room in the newsletter for pictures from each.Join us on Memory Lane, and for more memories with our upcoming season!

Thirty Years of Opera Colorado Continued...

AAbbdduuccttiioonn ffrroomm tthhee SSeerraagglliioo

RRuussaallkkaa

FFlloorreenncciiaa eenn eell AAmmaazzoonnaass

ANDREW LITTON, ARTISTIC ADVISOR

303.623.7876 / coloradosymphony.orgArtists, dates and programs subject to change.

Keep up with us online!

COLORADO CHRISTMAS DECEMBER 7, 8, 9 Fri 7:30 PM; Sat 2:30 & 6:00 PM; Sun 2:30 & 6:00 PMAllen Tinkham, conductorColorado Symphony Chorus, Duain Wolfe, directorColorado Children’s Chorale, Deborah DeSantis, director

MESSIAH BY CANDLELIGHT DECEMBER 11,12, 16 Tues-Wed 7:30 PM; Sun 5:30 PMScott O’Neil, resident conductorColorado Symphony Chorus, Duain Wolfe, directorPerformances at Montview Boulevard Presbyterian Church

PINK MARTINI DECEMBER 12 Wed 7:30 PM

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TOO HOT TO HANDEL DECEMBER 21, 22 Fri-Sat 7:30 PMMarin Alsop, conductor / Colorado Symphony Chorus, Mary Louise Burke, associate director

HANSEL AND GRETEL DECEMBER 29-30 Sat 7:30 PM; Sun 2:30 PMAndrew Litton, conductor and artistic advisor Colorado Children’s Chorale, Deborah DeSantis, director / In the Heart of the Beast Puppets HUMPERDINCK Hansel and Gretel

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Documents

Ovation Magazine Holiday 2012