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WHAT MATTERS MOST IN OPERA?B Y B E T S Y S C H W A R M

Opera has always been a multi-media production, blending numerous interrelated elements. However, as with most

many-faceted creations, some observers will lean more toward one side of the equation and some toward another. Almost everyone has an opinion as to what is of primary importance in the fi nal product.

In the late 18th century, the debate was largely between words and music. Antonio Salieri even wrote an opera on that exact subject, giving it the title Prima la musica e poi le parole (First the Music, and Then the Words). The piece premiered February 7, 1786, at Vienna’s Schonbrunn Palace as half of a double-bill with Mozart’s Der Schauspieldirektor (The Impresario). Since Mozart’s work dealt with the confl ict of priorities between the impresario and the singers in his production, one might imagine that both halves of that operatic evening addressed the issue of what is most

important in bringing opera to the stage.Most of a century later, Wagner brought a new thought

to the fore. Since the composer was his own librettist, one can imagine that he would have weighed music and words equally. However, in his essay Oper und Drama (Opera and Drama), he went further yet, elaborating upon his notion of “Gesamtkunstwerk” (Total Artistic Creation) and insisting upon having utter control of every aspect of the show. So determined was Wagner in this view that he persuaded Bavaria’s King Ludwig II to build for him a grand opera house exactly to the composer’s specifi cations. The Festspielhaus still stands in Bayreuth as a monument to Wagner’s creative spirit and is managed to this day by his descendants.

Long before the Festspielhaus arose, Wagner’s contemporary Verdi found that he was not, in fact, in complete control of his own operas. For the premiere of La traviata in

The Marriage of Figaro 2012

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1853, the composer specifi ed that, as the story was inspired by an actual courtesan who had died so recently than some of her lovers were still alive, the performance should be set in the present day. Authorities at Venice’s La Fenice opera house refused, and the production was staged in the previous century. Were they wrong to force the change? Certainly Verdi

thought so, but audiences were more concerned with whether the music was well-wrought and convincingly performed.

Of course, once a composer is personally absent from the scene, production decisions devolve to those who are staging the work anew. So when director Peter Sellars set the three Mozart/da Ponte operas in 20th century America – Figaro in the Trump Towers, Giovanni in Harlem, and Cosi in a diner – the result, admittedly, looked different from what Mozart himself would have imagined. However, Sellars was placing the operas directly in the times of his own audience, which is exactly what Mozart had done. In either case, the idea survives that the tale could occur even in the listeners’ own time.

New technology and new ideas can also make a difference, as opera is a living art form. Consider, for example, Opera Colorado’s 2011 production of Dvořák’s Rusalka. When the opera premiered early in 1901, the water nymph’s lake could only be portrayed with fabric and paint; 110 years later, digital projections allowed thoroughly convincing water that actually rippled when Rusalka touched it. The composer himself had imagined no such effect, but would likely have

taken advantage of the option had it existed. Moreover, when Opera Colorado announced that it would not only present Daniel Catán’s Florencia en el Amazonas in 2012, but would also develop a new production, the composer responded enthusiastically. He was thrilled that someone would be bringing a new interpretation to his work. Alas, Catán died

before the production came to the stage, but he had been very clear in giving his endorsement to the idea.

As long as the new vision communicates the essential features of the composer’s work, there seems little cause for complaint. Music, words, and visual approach are all parts of a single package. If a reimagined setting makes the story that much more immediate to an audience, or even if a minimalistic setting allows the music to stand out that much more clearly than it might in a grandly elaborate production, in which the eye is so engaged that the ear becomes somewhat secondary, in either case, the music still speaks to its listeners. No one insists that, because, in Shakespeare’s time, Juliet was played by a boy, she must ever after still be played by a boy. Whether it’s theater or opera, the specifi c look of the production seems less crucial than whether the artistic creation is well served.

BETSY SCHWARM IS OPERA COLORADO’S RESIDENT MUSIC HISTORIAN AND AUTHOR OF THE FOUR BOOKS OF THE CLASSICAL MUSIC INSIGHTS SERIES, INCLUDING OPERATIC INSIGHTS.

Whether it’s theater or opera, the specifi c look of the production seems less crucial than whether the artistic creation is well served.

Florencia en el Amazonas 2012 Rusalka 2011

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Each season, Opera Colorado’s productions take the stage of the Ellie Caulkins Opera House and for eight performances

each year, the seats are fi lled with opera lovers. Backstage the cast and crew run like a well-oiled machine. It is a beehive of activity. But what happens when the production ends, or when it is a day off for the cast and crew? Days like this are when the opera house fi lls with a very different kind of activity. Though the bees may be different, the opera house is still buzzing.

Each year, Opera Colorado opens up the Ellie Caulkins Opera House and turns it into a living classroom. Students are invited to attend and learn, in hands-on workshop sessions, what it takes to produce opera. The program has become one of our most popular offered through the Education & Community Engagement department; they are called, Backstage Workshops. The day begins with students arriving and entering the opera house lobby. Many of these students have never set foot in the Ellie

before and watching their reaction as they see it for the fi rst time is priceless.

Students are split into six groups. Each group is assigned a color and an Opera Colorado volunteer is placed with each group and acts as tour guide and docent for the duration of the event, complete with a colored fl ag to serve as a visual

marker on their journey. During the workshop, students will rotate in their groups to six different stations. Each station represents a component that is involved in producing live opera. For the 2015 Backstage Workshops, the stations are: Stage Combat, Professional Opera Signing, Stage Management, Costumes, Wigs & Makeup and Conducting. Each station is taught by a professional who works in that fi eld; we want to insure that students are learning from people who are actually doing what they are teaching. This is a crucial component to our Backstage Workshops and one of the things that sets them apart from other programs. While the event is entertaining and educational, it is also about opening up student’s eyes to careers in the arts.

As the students take part in each workshop station, they are not just sitting and listening to people talk. No; they are actively participating in demonstrations, hands-on activities and exercises designed to help students gain a real

understanding of what it is like to be a singer, a conductor, a makeup artist, etc. In the Stage Combat Station, students learn that stage combat needs to look real, but be completely safe. They use theatrical swords and practice choreographed moves. In the Professional Opera Singing station, students work with the Opera Colorado Young Artists. They get to hear

WHAT ARE THOSE KIDS DOING IN THE OPERA HOUSE?B Y C H E R I T Y K O E P K E

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live opera performed just feet away from them and interact with the artists on a personal level. Learning skills like breath control, diction and projection, the students quickly learn that being an opera singer is really hard work.

In the Stage Management Station, students learn about everything that happens behind the scenes during a production and how the stage managers make sure it all goes off without a hitch. In Costumes, they get to see and actually touch real opera costumes; learning about the design process and how color, texture and other details work together to create a character’s look. In Wigs & Makeup students get to see a live demonstration and watch as some of the students themselves are turned into different characters. They learn about how makeup can create special effects; how wigs are made by hand and they get a chance to try them on and see how the singers who wear them actually feel. In the Conducting Station, students learn about the orchestra and how the conductor leads the musical elements of the show, working with not only the musicians but the singers as well. Students are put through their paces as the Conductor leads them through a diffi cult piece of music as if they were the performers.

From the feedback we are receiving, Backstage Workshops are hitting all the right marks. Teachers and students alike tell us that they had a wonderful time and left with a much better understanding of what opera is, what it takes to put one on the stage and just how many people have to be involved. We have students tell us that they are now looking at the arts as a possible career option.

It is a lot to plan, organize and implement, but we know it is all worth it based on the response we are seeing. The Backstage Workshops are sold out for the season and we have a waiting list. Our hope is to expand the program in the near future to allow more students to participate. The more people know about opera, the more interested they become. We know for a fact that some of our patrons got their fi rst exposure to opera in a program like the Backstage Workshops. So, to answer the title question: “What are those kids doing in the opera house?” They are learning about opera in a way we hope will bring them back to the opera house for years to come.

CHERITY KOEPKE IS THE DIRECTOR OF EDUCATION & COMMUNITY ENGAGEMENT FOR OPERA COLORADO.

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BY LEAH PODZIMEK OPERA COLORADO DEVELOPMENT

CROWDFUNDING A NEW OPERA

“ 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

It’s not every day that a new opera is created.

Since the early 1900s American composers have been writing operatic works and laying the foundation for the popularity of opera. George Gershwin, Gian Carlo Menotti and Carlisle Floyd enabled the development of contemporary composers including John Adams, Philip Glass and Jake Heggie. As a result, opera companies have been established in cities of all sizes throughout the country, and new works are being commissioned in an effort to sustain the growth of the art form.

This is why our new opera The Scarlet Letter is so special. Composer Lori Laitman’s dramatic interpretation of the iconic novel by Nathaniel Hawthorne offers up a plethora of artistic and creative opportunities, not to mention the possibility for numerous education, community engagement and partnership initiatives surrounding themes of belonging, guilt and religious persecution among others. Ms. Laitman’s skill in conveying the emotion and drama of the book have made for a truly outstanding opera that all can relate to.

As the most popular and enduring performing art in human history, opera is also the most expensive.

The costs associated with producing any opera are profound, but those that a world premiere incurs are even greater. Just the number of musicians required illustrates high expenses – paying for the orchestra and conductor, hiring a chorus of singers and supplying the fees of principal artists are extensive but make up only a small portion of the budget. Production costs for new sets, props and costumes are the greatest expense in putting on the opera, and the designers, directors and of course the composer and librettist need to have the time to conceptualize an entire show from scratch.

Requiring an immense amount of dedication, time, and talent, it takes hundreds of people to bring one person’s vision to life on stage. Funding is thus required not only to get the production off the ground and running, but keep it moving along at a steady pace.

This is why we need YOUR help.

The success of a new opera like The Scarlet Letter requires a signifi cant amount of support, which is why Opera Colorado has initiated a crowdfunding campaign. Through an innovative and interactive online fundraising platform, the project will provide us with the ability to get word of The Scarlet Letter throughout the country and the world. Our goal is to raise $25,000 through this unique campaign, and we hope the project will inspire people worldwide to assist in making The Scarlet Letter not only a reality, but a huge success. Please play your part in sustaining the art form we all love for generations to come by contributing to our crowdfunder for the world premiere of The Scarlet Letter, and invest in the future of opera!

The Scarlet Letter crowdfunding campaign begins with a special performance of an abridged version of the opera by the Opera Colorado Young Artists. Come join us for this special, ‘sneak-peek’ launch event!

SUNDAY, MARCH 8, 2015 AT 2PM | THE LOFT AT THE ELLIE CAULKINS OPERA HOUSE

Please visit our website for more information and to donate.www.operacolorado.org/the-scarlet-letter/

THE SCARLET LETTER:

THE SCA

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Even though it is a subject that has been mentioned before, many people still are not aware that when Opera Colorado

says that we take opera “all over Colorado,” we mean it. Literally. There is this little thing that happens each year called the Greater Colorado Tour; well, actually it is not little at all. It is a huge undertaking and reaches communities all over Colorado who do not have regular access to opera. It is exciting, demanding and something we feel strongly about. We are Opera COLORADO after all.

For two weeks each season an intrepid party of seven hits the road and performs opera at death-defying altitudes. Neither rain, nor snow nor vehicle breakdowns will stop them on their quest. Sounds impressive, right? It may be a bit dramatic, but it is also true. The traveling party consists of fi ve Opera Colorado Young Artists, one accompanist and one director. The weather may come into play and we need a new tour vehicle, but that is not stopping us. Packing two trucks to their breaking point with suitcases, costumes, props and sets, the party will take to the road to take opera anywhere they can.

The Greater Colorado Tour of 2015 will take place from May 19-29. Some locations are still being confi rmed but we know that performances will take place in Frisco, Lake City, Ft. Collins and Colorado Springs. We will also be at other locations in Summit County as well as Garfi eld and Chaffee. In fact, we have so many locations requesting performances, that we could not fi t them all into the two-week timeframe. We will be doing a mini-tour in March 2015 that will take us to Gunnison and Estes Park.

While we are on the road, we perform our touring

productions; this season we are offering Hansel and Gretel and Romeo & Juliet. These productions are fully staged and costumed, but they have been abridged and translated into English to make them more accessible to our audiences. We also perform our Arias & Ensembles program on tour. This is a concert-style performance featuring selections of opera, musical theater and more. The performances we offer showcase the high caliber talent of the Young Artists in quality productions that represent the truth of what opera is. They are entertaining and intimate, hitting just the right note for communities with little to no regular exposure to opera.

Last season, we offered something new on tour that turned out to be highly successful; interactive workshops. We will be

doing them again this year. We work with local students in a workshop setting teaching them about performance skills, singing technique, presentation, acting and more. We also work with students at the collegiate level in masterclasses. Providing students a chance to work with and learn from professionals in their fi eld of study is invaluable. They receive important feedback and gain real-world experience that they can not get in any other setting.

It is not all fun and games though. There are plenty of challenges; challenges that are unique to being on tour. In years past we have been snowed in, had to deal with injury and illness and been stranded due to vehicle breakdowns. We have been attacked by geese, skated on ice while loading in and had to improvise props when things were accidently left behind. Sometimes the spaces we are performing in are so small we have to re-stage the show before the performance. Sometimes the

BUCKLE UP – IT’S TIME FOR THEGREATER COLORADO TOUR!B Y C H E R I T Y K O E P K E

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pianos are missing keys. Once we even performed without a set entirely because the school we were at was in the middle of rehearsing for their musical and their set had been nailed to the fl oor. Carmen on the set of The Wizard of Oz, now that is something you do not see every day. The days themselves are long, the work is challenging. Did I mention that in addition to being the performing artists, we are also

our own road crew? It is all part of what you have to deal with on the road and, in the end, it is all worth it.

Tour begins on May 19, the day after we close our mainstage production of The Magic Flute. The response we receive from the communities we tour is hard to put into words. They are so happy to see us; so thrilled to have opera in their town. If people think opera is dead, they should see it being performed in a setting like this. They tell us over and over again how much it means to them that we came. In all honesty, we feel like the lucky ones. There are few things better than performing the art form you love

for people who are so enthusiastic about what you are doing. It is something that keeps us going when miles on the road get long.

Did you know that you can join us on our trip? Yes, indeed. Tour is now accessible to anyone through daily blog entries. Here is an excerpt from a blog from the Greater Colorado Tour of 2014:

TOUR DAY 6

AND… CAMERA FADE INTO THE NEXT MORNING. WE’RE UP IN STAGES AGAIN

AS WE ENJOY THE B&B AND WAIT FOR BREAKFAST. YOU DIDN’T REALLY

THINK WE WOULD MISS BREAKFAST NOW DID YOU? THIS GROUP? SOME

OF US FIND OUT WAY OUTSIDE (ALL OF US FIND OUR WAY TO THE COFFEE

AND TEA) AND SIT ENJOYING THE BEAUTIFUL WEATHER. IT’S CLEAR, SUNNY

AND WARM. THERE’S A NEW DOGGIE TO PLAY WITH THIS MORNING – HER

NAME IS COOPER AND SHE’S AN ELEVEN YEAR-OLD BLACK LAB. SHE’S

QUITE SPRY FOR ELEVEN AND WE TAKE TURNS THROWING A STICK FOR HER.

OUR HOSTESS CALLS US IN FOR BREAKFAST – LITERALLY. SHE STANDS IN

THE FRONT DOOR AND HOLLERS, “FOOD’S READY, COME AND GET IT!” WE

DO. WE SIT AT A LARGE TABLE TOGETHER AND ENJOY A WONDERFUL, FARM

FRESH BREAKFAST.

The blogs are posted on our Facebook page and are gaining quite a following. We would love for you to go on the journey with us by reading our blog and we would love to hear comments.

So, buckle up Colorado because opera is coming to a town near you. If not this year, you can be sure we are headed your way in the near future on our Greater Colorado tour!

CHERITY KOEPKE IS THE DIRECTOR OF EDUCATION & COMMUNITY ENGAGEMENT FOR OPERA COLORADO YOUNG ARTISTS.

If you would like your community to be considered as a location for the 2016 Greater Colorado Tour, please contact us at 303.778.0371 or education@operacolorado.org.

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

Opening NightDinner

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.

THE MAGIC FLUTE Sat., May 2, 2015 | 5PM

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 fi nancial support to young Colorado Singers• A volunteer, non-profi t, charitable organization• Provide opportunities for members to experience the joy of opera

We invite you to look into membership and volunteering opportunities

For information visitDenverLyricOperaGuild.org

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Our 2014/2015 Season kicked off with our highly praised production of Madama Butterfl y, which was a triumph

both artistically and fi nancially for Opera Colorado. We quickly followed with our most successful Colorado Gives Day on December 9th, raising more than $50,000 from 119 donors in a 24 hour period. We are grateful to all of our patrons and supporters who have made our fall season such a tremendous success.

While our spring production of Mozart’s The Magic Flutedoes not appear on the stage of the Ellie Caulkins Opera House until May, we have many other exciting opportunities to enjoy opera and support Opera Colorado in the intervening months.

Champagne GALA2015 is Opera Colorado’s single most important fundraising event focused on providing the much needed funding to continue to grow our Education & Community Engagement programs throughout the Denver Metro Area and across the Rocky Mountain Region. This year’s gala will be held on Friday, February 6th and will feature husband and wife duo Hector Vasquez and Cynthia Clayton performing a program of opera arias, duets and selections from popular Broadway musicals. Our Young Artists will also join in the fun with a couple of numbers of their own. Cocktails, dinner, dancing, and a few surprises surround this highly entertaining performance.

On February 7th, the day after our gala, we will host the second annual Opera Colorado Family Day on the stage of the Ellie Caulkins Opera House. Family Day will feature two free performances of our touring production of Hansel and Gretelalong with fun activities and food for kids K-6th grade. Family day is generously sponsored by Debra Perry and Jeff Baldwin and is part of Opera Colorado’s commitment to making opera accessible to a broader base of our community. For more information and free tickets visit OCfamilyday2.eventbrite.com.

On March 8th we offi cially kick off our A List activities surrounding the world premiere of Lori Laitman’s opera The Scarlet Letter with a concert-reading of Lori’s one-

hour touring version of the opera performed by the Opera Colorado Young Artists. The performance will take place in the Studio Loft at the Ellie Caulkins Opera House followed by a Q&A session with the composer, librettist and conductor. For tickets visit operacolorado.org/the-scarlet-letter/.

And of course on May 2nd we will open our production of The Magic Flute. This new production will bring together traditional sets and costumes with video design to create a truly magical world. Our production is focused on creating a storybook fantasy where good triumphs over evil and the characters embrace the transition between youth and adulthood. While the music will be sung in German, the dialogue will be reduced and sung in English, making this a perfect opera for families.

I hope you will join us for one or more of our winter and spring events and I thank you for making Opera Colorado an important part of your life.

On March 8th we offi cially kick off our A List activities surrounding the world premiere of Lori Laitman’s opera The Scarlet Letter.

FROM THE GENERAL DIRECTORB Y G R E G C A R P E N T E R

We Have One Ambition. Yours.Wealth management can be defined a number of ways. However, we choose to define it the same

way you do: dream management. See, it’s not simply the accumulation of wealth that drives you.

It’s the opportunity to live life on your terms and make good on your dreams. Which is why you need

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Give us a call, or better yet, let us come see you.

Private Banking | Fiduciary Services | Investment Management | Financial Planning | Specialty Asset Management | Insurance

303.864.7220 | www.csbt.com

© 2014 Colorado State Bank and Trust, a division of BOKF, NA, member FDIC. Equal Housing Lender. Private Bank at Colorado State Bank and Trust provides products and services through BOKF, NA and its various affiliates and subsidiaries. Investments and insurance are not insured by the FDIC; are not deposits or other obligations of, and are not guaranteed by, any bank or bank affiliate. All investments are subject to risks, including possible loss of principal.

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 Annette Brown Patron Services Assistant Joyce de Roos Volunteer Coordinator Molly Epstein Group Sales Associate Nicholas Geyer Development and Marketing Assistant Indea Jaramillo Patron Services Assistant Tom Kirkpatrick Tessitura Consultant Suzanne Mulvany Special Events Rachel Perez Marketing Manager Leah Podzimek Individual Giving and Grants Manager Caroline Ray Patron Services Assistant Resnicow + Associates Public Relations

EDUCATION

Cherity Koepke Director of Education & Community Engagement Julie Nowasell Education Assistant Betsy Schwarm Pre-Performance Lecturer

PRODUCTION

Katie Preissner Production Manager Ann Piano Costume Director

YOUNG ARTISTS PROGRAM

Cherity Koepke Director Allan Armstrong Resident Coach Accompanist Leah Bobbey Soprano Katherine Sanford Mezzo-Soprano Brett Sprague Tenor Andrew Paulson Baritone Leo Rado Bass-Baritone

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

Michael HughesDr. Charles Kafadar

Jeremy KinneyLoring W. Knoblauch

Lifetime Honorary DirectorPamela Merrill

Jeremy ShamosSusan ShamosHarry Sterling

Ovation! Magazine

and In-Theatre programs

are produced

for Opera Colorado

by The Publishing House.

Angie Flachman-JohnsonPublisher

Wilbur E. FlachmanPresident & Founder

Annette AllenArt Director

Production Coordinator

For advertising information303-428-9529

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O V A T I O N ! w i n t e r 2 0 1 5

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