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

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

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

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

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

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

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

Greg Carpenter Michael HughesGeneral Director Chairman

FROM THE GENERAL DIRECTOR AND CHAIRMAN OF THE BOARD

WELCOME TO THE 2014 SEASON

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8 • O P E R A C O L O R A D O 2 0 1 4

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

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

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

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

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

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

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

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

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

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

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

Edited by Rachel Perez

OPERA IN THE CLASSROOM

UNEXPECTEDCONNECTIONSBy Cherity Koepke

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

WHENCECARMEN?By Betsy Schwarm

The title Carmen may refer to either of two great examples

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

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

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

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

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

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

Betsy Schwarm is the author of Operative Insights.

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

AND DO COME IF YOU DON’T CALL THEM...

SANDRA PIQUES EDDY AS CARMEN

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

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

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

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

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

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

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

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

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

A FEW QUESTIONS FOR BRETT

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

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

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

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

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

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

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

Edited by Rachel Perez

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

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

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C A R M E N • 1

MAY 3 • 6 • 9 • 11, 2014ELLIE CAULKINS OPERA HOUSE

Opera in Four ActsBy Georges Bizet

Libretto by Henri Meilhac and Ludovic Halévy

There will be one 25 minute intermission.

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

Morales Benjamin Wood* Micaela Janai Brugger* Don José Adam Klein Zuniga Benjamin Sieverding^ Carmen Sandra Piques Eddy* Frasquita Colleen Jackson^ Mercedes Louise Rogan^ Escamillo Ryan Kuster* Dancairo Jared Guest^ Remendado Brett Sprague^

Opera Colorado OrchestraOpera Colorado Chorus

Colorado Children’s Chorale

Conductor Robert Wood Stage Director Kathleen Belcher* Chorus Master John Baril Fight Choreographer Benaiah Anderson Lighting Design SeifAllah Cristobal* Wig and Makeup Design Ronell Oliveri Costume Design Ann Piano

Due to illness, Jay Hunter Morris has had to withdraw from the production.

SOME COSTUMES PROVIDED BY THE SANTA FE OPERA

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

SPONSORED BY J. MICHAEL KING, MD | PEAK ENT AND VOICE CENTER

*Opera Colorado Debut

^Opera Colorado Young Artists

C A R M E N

2 • C A R M E N

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

Carmen is sponsored by Dave and Pam Duke

Sandra Piques Eddy, CarmenAppearance made possible by a generous gift from Ellie Caulkins

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

Brett Sprague, Young ArtistSponsored by Patrick Spieles and Carol McMurry

OPERA COLORADO’S 2014 SEASON SPONSORS

OPERA COLORADO MEDIA SPONSORS

When I fi rst started studying Carmen, I discovered that she is a very honest and unchangeable character. She knows what she wants and what to do to get it. I started to think that she could be misunderstood and come across as a terrible human being, unless she was thrust into circumstances where her very life was threatened and she faced unspeakable brutality every day. This is why I chose to move the action to 1937, smack dab in the middle of the Spanish Civil War. I came across unbelievable images of violence that the peasants and workers faced during this brutal civil war. No wonder she longs for and fi ghts hard for freedom-not just for herself, but for her country. In this staging, the Gypsy smugglers become arms smugglers, fi ghting for the resistance and risking their lives to save themselves from the tyranny of fascism.

On the other hand, Don José is a character who takes a great journey through the course of the opera. As a person

who describes himself as “obedient to his superiors” and “punctual,” he is a guilt ridden man desperate to put the unknown wrongs of his past behind him and earn his mother’s forgiveness. He struggles to maintain this goodness, but is drawn in to a violent episode that makes him think because he has turned his back on his superior offi cers, his mother and Micaela, that Carmen owes him her love. I thought it would be quite powerful to have Don José refl ect immediately on what he had done to Carmen and that if he viewed it through a veil of grief he would not have the perspective to look at the whole picture, only fragments that he could remember or imagine the scenarios at which he was not actually present. In traditional productions of Carmen, there is a great deal of pageantry. In forcing Don José to deal with his emotions and ramifi cations of other decisions in his life, we can focus on the very intense drama that occurs between him and Carmen in a very real and immediate way.

FROM THE DIRECTOR

C A R M E N • 3

ACT ONEIn Seville, soldiers idle near a square outside the cigarette factory. Country girl Micaela arrives in search of her sweetheart, the corporal Don José, who, she learns, is off-duty. At a changing of the guard, which attracts the admiring mimicry of local children, José arrives. Soon, the young women employed at the cigarette factory emerge on break. Amongst them is Carmen, who sings of her philosophy of free love and tosses a fl ower to José, the only man in the crowd who had seemed immune to her charms. She and the cigarette girls go back to work.

Micaela returns to speak with José, and to bring him word from his mother. She is embarrassed to admit that the message is a wish that José should marry Micaela. Then, a fracas breaks out at the cigarette factory. Carmen and one of her co-workers have been fi ghting and Carmen has wounded the other girl with a knife. Captain Zuniga tells José to restrain the culprit while preparations are made for her arrest. Carmen tries again to charm José in hopes of gaining freedom. Unable to resist, José cooperates with her escape and is taken to prison in her place.

ACT TWOTwo months later at Lillas Pastia’s tavern, Carmen and her friends dance. From Zuniga, Carmen learns that José’s prison sentence is ending today. She is pleased to hear that he is free and expects him to arrive shortly. First, however, a local celebrity, the toreador Escamillo, diverts the crowd with tales of bullfi ghting and of the ladies who long for his attentions. He, too, is intrigued by Carmen. With closing time, most of the guests depart. Only Carmen and her gypsy friends remain, plotting an upcoming smuggling mission.

José arrives and Carmen dances for him. However, on hearing the bugle call that summons him back to duty, he prepares to depart, causing her to question his affection for her. In reply, he brings out the fl ower she had tossed to him at their earlier encounter and tells how she has fi lled his thoughts. Mollifi ed,

Carmen resumes her fl irtatious mood, but the return of Captain Zuniga interrupts them again. José, however, refuses to go back to the barracks and attacks his superior offi cer. Now, he agrees to join Carmen and the smugglers in their camp in the hills.

ACT THREEIn the smuggler’s camp, Carmen is tiring of José, who she fi nds too possessive. She and her friends sport with fortune telling cards. The friends fi nd happy futures for themselves, but Carmen fi nds only death. Micaela arrives, frightened and prayerful. José, who is guarding the camp, fi res a shot, not at Micaela, who has hidden, but at Escamillo the toreador, who has come in search of Carmen. Carmen breaks up their confl ict, and Escamillo invites everyone to his next bullfi ght. Upon being discovered, Micaela passes on to José the news that his mother is dying. Contemptuously, Carmen sends him away and as he leaves, he hears Escamillo’s song, reminding him of his rival.

ACT FOURBack in Seville, the city assembles for a grand bullfi ght. The star of the show, Escamillo, is accompanied by Carmen. He goes in for his match and Carmen remains outside with friends, who warn her that José is nearby. She declares that she is unafraid, and repeats the same statement to José when he appears, begging her to come back to him. Defi antly, she throws in his face the ring he had given her, so infuriating him that he threatens her physically. At that moment, the crowd in the arena bursts into cheers for Escamillo’s victory. When Carmen moves to join in the celebration, José kills her. Despairing, he gives himself up to the authorities.

BY BETSY SCHWARMSYNOPSISC A R M E N

SETTING • IN AND AROUND19TH CENTURY SEVILLE

4 • C A R M E N

It was the best of times – it was the worst of times.

Dickens might have been writing of Georges Bizet and the date of March 3, 1875. On that date, Bizet’s fi nal opera, Carmen, fi rst came before the public to be tarred and feathered by critics. It was also the date on which Bizet’s fame was ensured for all time, for though the critics mauled the work, the public came to love it, and the opera has continued to stand as one of the most famed of all. Alas that Bizet himself would not know of that eventual development. Three months after the initial failure of Carmen, he was in his grave, brought down at the age of 36 by a heart condition.

How could critics have so missed this mark in their judgments of Carmen? The essential problem was that they were judging Carmen – both the opera itself and its titular leading lady – by pre-existing standards of opera. In Paris in the early 19th century, the opera house was a place to see and be seen, and whatever one might see happening upon the stage was generally incidental to the point of being out in society.

This was particularly the case at the Opèra-Comique. The theater did not specialize in comic opera per se, but rather in operas including spoken dialog. That’s exactly what Bizet provided for them; the sung dialog that one generally hears he crafted after the premiere. So Carmen’s structure was not the problem, but rather its subject matter. The Opèra-Comique catered to stylish families who put their debutante daughters in the public eye. An opera about a young woman who smokes, steals, sleeps around, and dies with a knife in her gut was apparently not the sort of thing that these debutantes should be seeing. Assaults upon the opera centered upon the leading lady’s character, not upon Bizet’s music. Either way, the reviews were gut-wrenching for the composer, who was already feeling the effects of the ailment that would soon end his life.

Bizet was simply ahead of his time. In another dozen years, the Italians would begin to popularize a new approach to opera

that would come to be known as “verismo.” In verismo opera, the focus was upon down-to-earth realism, the grittier the better, and rife with uncontrolled passion; these composers – and their audiences – had tired of morally uplifting tales and wished instead for strong and powerful entertainment. That’s exactly what Bizet had provided with Carmen, but the public was not yet ready for it. The critical establishment, generally conservative in its tastes, was even less ready.

Less innovative, though just as popular with the public, was the fact that the Frenchman Bizet set about telling a story set in Spain by fl avoring it with authentic Spanish dance rhythms. Bringing such exotic fl avor into one’s music had been popular for several decades, and for the French, no exotic setting was more entrancing than that of their south-of-the-border neighbors. Bizet was neither the fi rst French composer to seek out a Spanish fl avor, nor would he be the last. However, he is certainly the one who comes most readily to the mind of the opera loving public.

Carmen is rich with Iberian color. Consider two particular examples. In Act One, the title character fi rst comes on stage, singing the Habanera, rich with the rhythms and moods of that Spanish dance. Here, she declares that, for her, love is never predictable. Later in that same act, another aria for Carmen, the even slinkier Seguidilla, has her singing sensuously of the pleasures of love. In both arias, and in later scenes for the gypsies and the bullfi ghter Escamillo, Bizet uses authentic Spanish musical fl avors to evoke the scene he has in mind.

So conservatives of the day were shocked by Carmen; audiences, if not exactly shocked, were at least puzzled by its forthright nature. In time, however, it won affection on all sides and is now one of a handful of the most popular operas of all time. If there is justice in the musical afterlife, Bizet has come to know of its victory. Certainly, he found no such satisfaction in the few months that remained to him after its premiere. So as you experience Carmen today, please send a good thought in Bizet’s direction.

NOTES AND SYNOPSIS BY BETSY SCHWARM, OPERA COLORADO’S RESIDENT MUSIC HISTORIAN AND AUTHOR OF THREE BOOKS ON CLASSICAL MUSIC, INCLUDING OPERATIC INSIGHTS.

GEORGES BIZET

BIZET’S CARMEN: AHEAD OF ITS TIME

C A R M E N • 5

Janai Brugger, Micaela(Opera Colorado Debut)A former winner of Placido Domingo’s prestigious Operalia vocal competition and of the Metropolitan Opera National Council Auditions, both in 2012, American soprano, Janai Brugger, began the 2013-14 season as Liu Turandot at Hawaii Opera Theatre. She returns to Los Angeles Opera to make her debut as Pamina Die

Zauberfl ote and in the Spring she continues to the Metropolitan Opera to sing the role of Helena The Enchanted Island. Last season the artist’s appearances included Liu at the Metropolitan Opera in the Zefferelli production of Turandot; she travelled to Prague to appear in concert at the Peter Dvorsky Festival, she appeared in the May Festival with the Cincinnati Symphony Orchestra under the baton of James Conlon and joined Los Angeles Philharmonic and Gustavo Dudamel as High Priestess Aida in performances at the Hollywood Bowl.

Sandra Piques Eddy, Carmen(Opera Colorado Debut)“Her dark, sensuous mezzo and charming presence show star quality.” (Opera Magazine) Sandra’s recent engagements included her return to the Metropolitan Opera as Fiona in the American premiere of Nico Muhly’s Two Boys,  Rosina in Il barbiere di Siviglia with Nashville Opera, Crested Butte Music Festival, Vancouver

Opera and Lyric Opera of Kansas City, Dorabella with Boston Lyric Opera, title role in L’Italiana in Algeri with Atlanta Opera, Vancouver Opera, Austin Lyric Opera and Idamante with Florentine Opera and Boston Lyric Opera. In 2014-2015 she travels to Japan to sing Dorabella in Così fan tutte at Hyogo Performing Arts Center and to England in the title role in L’Incoronazione di Poppea with Opera

North, she sings Carmen with both Portland Opera and Calgary Opera and Vavarva in Boston Lyric Opera’s Katya Kabanova.

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

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

Colleen Jackson, Frasquita(Opera Colorado Debut: Rigoletto, 2014)A recent graduate of the University of Northern Colorado’s Master of Music program, Colleen Jackson performed the roles of Mrs. Nordstrom in A Little Night Music, Donna Anna in Don Giovanni and Fiordiligi in Così fan tutte with the Greeley Philharmonic Orchestra. She sang the Erste Dame in  Die Zauberfl öte  with

Opera Classica Europa in Germany. In 2013 she sang her debut of Violetta in Verdi’s  La Traviata  as an alumna guest artist with UNC. Jackson recently made her professional operatic debut with

THE ARTISTS

OPERATING THE SUBTITLES | FOLLOW THESE EASY STEPS

Prior to the performance, the screen will display a sponsored message automatically. (You cannot turn it off.) When the singing begins, briefl y press the red button. Press once for English titles and twice for Spanish titles. Press three times to turn the system off. Repeat these steps after intermission(s).

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

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

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

6 • C A R M E N

Opera Fort Collins in the title role of Douglas Moore’s The Ballad of Baby Doe. As a 2014 Opera Colorado Young Artist, Jackson will sing the roles of Juliet and Berta in the company’s touring productions of  Romeo and Juliet  and  The Barber of Seville. In the student matinee of Carmen, she will sing the role of Michaela.

Adam Klein, Don José(Opera Colorado Debut:Roméo et Juliette, 1999)American tenor Adam Klein made an important debut in 2010 as Tristan in Tristan und Isolde with Seattle Opera in a season which also included performances as the title role in Faust with Opera Memphis, Loge in  Das Rheingold  with Indianapolis Opera and Herod in Salome with Toledo Opera. In

2012 Klein received rave reviews for his performances as Loge in Das Rheingold in the Metropolitan Opera’s new production Wagner’s cycle. Other recent performances at the Metropolitan Opera include the role of the Witch in Hansel und Gretel.  With the company he has also performed lead roles in The Nose, Z Mrtveho Domu,  Jenufa, Pique Dame,  Dialogues Des Carmélites,  War and Peace,  Mazeppa,  Le Rossignol,  Salome  and  Arabella. In recent seasons, Klein has performed the roles of Don José in Carmen with Toledo Opera and Atlanta Opera, where also performed Erik in Der Fliegende Holländer, a role he reprised that season with Spoleto Festival USA.

Ryan Kuster, Escamillo(Opera Colorado Debut) Bass-Baritone Ryan Kuster has gained vast attention on the west coast for his accolades in San Francisco, where he recently completed a two-year residency and 59 performances in the prestigious Adler Fellowship Program of San Francisco Opera. His performance as Escamillo in their production of

Carmen was called “pure bravado.” In 2012, Kuster made his symphonic debut with the Los Angeles Philharmonic singing the role of Masetto in their acclaimed production of Don Giovanni. In addition, he returned to Wolf Trap Opera to debut the title role of Don Giovanni and made his National Symphony debut performing Beethoven’s Ninth Symphony. Kuster sang Angelotti in Tosca with Madison Opera, Colline in La Boheme with Arizona Opera and Escamillo in Carmen with Virginia Opera as well. He will sing at Bard Summerscape this summer as Lysiart in Weber’s Euryanthe.

Louise Rogan, Mercedes(Opera Colorado Debut: Rigoletto, 2014)Louise Rogan received her Diploma in Vocal and Opera Studies from the Royal Northern College of Music and Bachelor of Music degree from the Chicago College of Performing Arts. In 2013, she graduated from the Professional Diploma in Opera program at the Chicago College of Performing Arts. While there she sang

Pamela in New York Stories, Third Lady in Die Zauberfl öte and the title role in the Chicago premiere of Amelia by Daron Hagen. As a member of the Chicago Opera Theater Young Artist Program, she performed the roles of Second Lady in Die Zauberfl öte and Masha in Moscow Cheryomushki. Rogan won the Sixth Annual Elgin Opera Vocal

Competition. As an Opera Colorado Young Artist she will perform the title role in the student matinee production of Carmen, Stephano/Gertrude in Romeo and Juliet and Rosina in The Barber of Seville.

Benjamin Sieverding, Zuniga(Opera Colorado Debut: Rigoletto, 2014)Benjamin Sieverding recently completed his post-graduate studies in Vocal Performance at the University of Michigan, where he also received his Master of Music degree. In 2012, he won the Nebraska District and was an Upper Midwest Region fi nalist of the Metropolitan National Council Auditions. In the summer of 2011,

he was seen as Zuniga in Carmen with Arbor Opera Theater and Otto in the new world premiere of Jukka Linkola’s Rockland with Pine Mountain Music Festival. Sieverding has spent summer seasons as a young artist with the Franco-American Vocal Academy and Pine Mountain Music Festival. In summer 2013, he joined The Santa Fe Opera as an apprentice artist, singing in the world-premiere of Theodore Morrison’s Oscar. As an Opera Colorado Young Artist, he will sing the roles of Zuniga in both the mainstage and student matinee performances of Carmen.

Brett Sprague, Remendado(Opera Colorado Debut: Rigoletto, 2014)Brett Sprague holds a Bachelor’s degree in Vocal Performance from Chapman University and a  Master’s degree in Classical Voice from the Manhattan School of Music. Past credits include  Peter Grimes  with Chautauqua Opera,  Don Pasquale  with Amore Opera,  The Most Happy Fella  with

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

Benjamin Wood, Morales(Opera Colorado Debut) Colorado Baritone Benjamin Wood is quickly establishing himself as a diverse performer distinguished by his sophisticated musicality and engaging stage presence. Recent performances include Lancelot in Camelot at the Arvada Center, Marcello in La Bohéme with Loveland Opera Theatre, Sam in Trouble in Tahiti with Operaverse

and Dandini in La Cenerentola with Boulder Opera. He was a fi nalist in both the 2014 Grand Junction Symphony Orchestra Young Artist Competition and the 2014 Denver Lyric Opera Guild Competition. Wood received his Masters of Music from the University of Denver, Lamont School of Music where his credits include the title roles in Gianni Schicchi and Le Nozze di Figaro. Future engagements include the role of Davy Morgan in the premier of How Green Was My Valley by Roger Ames with Central City Opera.

THE ARTISTS

C A R M E N • 7

Colorado Children’s ChoraleIn collaboration with Opera Colorado, the Colorado Children’s Chorale is proud to provide the children’s ensemble for Carmen. For 40 years, the Chorale has brought its artistry and charm to audiences throughout the world. With a diverse repertoire ranging from fully staged opera and musical theater to standard choral compositions in

classical, folk and popular traditions, the Chorale performs with a unique theatrical spirit. Under the leadership of Artistic Director Deborah DeSantis and Executive Director Diane Newcom, the Chorale annually trains 500 members between the ages of 7 and 14. The Performance Program includes a series of self-produced concerts, touring around the world and numerous performances with Colorado arts organizations, including the Aspen Music Festival, Central City Opera, The Colorado Symphony, Colorado Ballet and Opera Colorado.

Benaiah Anderson,Fight Choreographer(Opera Colorado Debut: Romeo and Juliet, 2013)Benaiah Anderson is an actor and fi ght director.  He has appeared in shows at the Colorado Shakespeare Festival, Denver Center and Arvada Center. He has choreographed violence all along the Front Range for Universities  and theatre

companies such as CU, DU, UCCS, Central City Opera, Miner’s Alley Playhouse and The Aurora Fox. This is his second production working with Opera Colorado.

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

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

Kathleen Smith Belcher, Director (Opera Colorado Debut)Stage director Kathleen Smith Belcher is currently engaged in her 13th year as a member of the directing staff at the Metropolitan Opera. Among others, she has worked extensively with the San Francisco Opera, Lyric Opera of Chicago, Houston Grand Opera, Los Angeles Opera and the San Diego Opera. She

assisted Peter Sellars on the world premiere of John Adams’ Dr.

Atomic in San Francisco and helped to remount the production for The Netherlands Opera and the Lyric Opera of Chicago. Woody Allen, Michael Mayer (SMASH, Spring Awakening), Bartlett Sher (South Pacifi c, A Light in the Piazza) and Julie Taymor (Lion King) are just a few of the many directors with whom she has worked. As a member of the Metropolitan Opera directing staff, she has collaborated on numerous “Live in HD” broadcasts, including the Emmy-winning production of Don Pasquale.

Ann Piano, Costume Design(Opera Colorado Debut: Lucia Di Lammermoor, 2003)Ann Piano is pleased to be designing for Opera Colorado’s mainstage. For the past 12 years, she has run the costume department and designed costumes for the Young Artist’s touring productions. In 2012, she won a True West “Best Costume Design” Award for The Elaborate Entrance of Chad Deity at The Curious Theatre Company in Denver, Colorado. In 2009, she was nominated for a Henry Award for Enchanted April at Miner’s Alley Playhouse, Golden, Colorado. Over the years, Piano has worked for Central City Opera, Houston Grand Opera and the Santa Fe Opera. Piano received a BFA in Fashion Design from Stephens College, Columbia, Missouri.

SeifAllah Salotto-Cristobal, Lighting Design(Opera Colorado Debut)SeifAllah Salotto-Cristobal is excited to be making his Opera Colorado debut. He holds a MFA in lighting and projection design from the University of Missouri-Kansas City. Recent lighting credits include Die Zaiberfl ote (The Boston Conservatory), Shrek, the Musical (Wagon Wheel Theatre), Bloody, Bloody Andrew Jackson (Emerson Umbrella), A Little Night Music (Opera in The Ozarks), A Christmas Carol, The Musical (The Armory Dinner Theatre) and Distracted (Unicorn Theatre). Recent projection credits include Dead Man Walking (Tulsa Opera) and Ben Franklin’s Apprentice (Coterie Theatre).

Robert Wood, Conductor(Opera Colorado Debut:Romeo and Juliet, 2013) Maestro Wood’s conducting credits include La Traviata and L’italiana in Algeri at San Francisco Opera, La Donna del Lago, Le Nozze di Figaro, Rusalka and Il barbiere di Siviglia at Minnesota Opera, Le Comte Ory and Die Zauberfl öte at Wolf Trap Opera, L’italiana in Algeri at

Vancouver Opera, Die Fledermaus and Die Entführung aus dem Serail at Hawaii Opera Theater, La cenerentola at Opera New Jersey and The Love for Three Oranges at Indiana University. Maestro Wood is the founder of UrbanArias, an opera company in Washington, DC, dedicated to producing short, contemporary operas. UrbanArias recently gave the world premiere of Gregory Spears’ Paul’s Case, a landmark production of Tom Cipullo’s Glory Denied, the world premiere of Daniel Felsenfeld’s Alice in the Time of the Jabberwock, the fully-staged premiere of Bastianello and Lucrezia by Mark Campbell, John Musto and William Bolcom, and Ricky Ian Gordon’s Orpheus and Euridice.

THE ARTISTS

8 • C A R M E N

ORCHESTRAVIOLINTakanori Sugishita,

concertmasterLeslie Sawyer,

principal second violinAngela DombrowskiDeb HollandRobyn JulyanRegan Kane Annamaria KaracsonCyndi MancinelliLeah MohlingDan MurphyBrett OmaraSusie PeekIngrid PeoriaGyongyi PetheoVeronica PigeonChristine Short Robyn SosaBritt Swenson

VIOLAJeanne Chin, principalBrian CookMatthew DaneErika Eckert Sarah Richardson Lora Stevens

CELLOJeff Watson, principalCedra KuehnHeidi MausbachDavid ShortElle Wells Carole Whitney

BASSDavid Crowe, principalJeremy NicholasMatthew PenningtonJames Vaughn

FLUTE Susan Townsend, principalElizabeth Sadilek

OBOE Melissa Pena, principalSusanne Sawchuk

CLARINET Michelle Orman, principalHeidi Mendenhall

BASSOON Kim Peoria, principalKaori Uno

HORNDevon Park, principal Marian Hesse Jason Johnston Stuart Mock

TRUMPETBrian Brown, principalSteve Kilburn

TROMBONECarson Keeble, principalBill StanleyJim Gray

HARPJanet Harriman, principal

TIMPANI Peter Cooper, principal

PERCUSSION Mark Foster, principalCarl Dixon

ORCHESTRA LIBRARIANIngrid Peoria

ORCHESTRA MANAGERKim Peoria

OPERA COLORADO CHORUSSOPRANOBecky Bradley Teresa CastilloMichelle Daniels Lindsey FrenchAndrea Kehmeier Amy Kopatich

MEZZO-SOPRANOJanet Braccio Claire Brooker Susan Clark Kimberly Kirkwood Heather Mills Ellen Moeller

TENORDavid EllwoodJason ParfenoffPark Wm. Showalter Norman SpivyJoey TaczakSteve WalzKeith Williamson

BASSJamie HalladayDan HowardBill LeePatrick McAleer Nicholas Navarre

COLORADO CHILDREN’S CHORALEDeborah DeSantis, Artistic Director and ConductorMary Louise Burke, Associate Director and ConductorJack BartonMadeleine BorodachKarina BruslettoTripp CeyssensDeva ClarkEmma DayAndrew DupperKyle GreenAudrey HamptonBlake MannBrett MasonAllyson MayLizzie McMaster Michael RedmondTanner SpreeuwCarter Strunk

PRODUCTION STAFFMUSIC STAFFJohn Baril, Chorus MasterSteven Aguilo-Arbues,

Coach/AccompanistKim Peoria,

Orchestra Personnel ManagerIngrid Peoria,

Orchestra Librarian

PRODUCTION STAFFKatie Preissner,

Production/Stage ManagerJordan Braun,

Assistant Stage ManagerSarah Johnson,

Assistant Stage ManagerHeather Romig,Assistant Director

Jeremy Sortore,Title Coordinator

Beth Nielsen,Title Operator

Park Wm. Showalter,Chorus Liaison

Stan Anderson, Supernumerary CaptainBrian Greffe, MD, Company PhysicianBuzz Reifman, NPPA, Company Otolaryngologist

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

ELLIE CAULKINSOPERA HOUSE CREWAl Price, House PropDave Wilson, House ElectricianDave Lambert,

House CarpenterMichael Cousins, House Sound

COSTUMESAnn Piano, Costume DirectorAlison Milan,

Shop Manager and Wardrobe Head

SHOP ASSISTANTSKevin Brainerd-DraperMeredith FoggBarbara PianoElizabeth C. Porter

DRESSERSKevin BrainerdLisa Ray BorgmannSara Lynn HildebrandTeresia LarsenElizabeth C. PorterAnnabel Reader

VOLUNTEER DRESSERSLeslie CadyKathy HeiderJan HeimerPat SmithBarbara Wilder

WIGS AND MAKEUPSarah Opstad, Associate Wig and Makeup CoordinatorNikki Harrison, Wig and Makeup Assistant ARTIST HOSTSHost Chairmen: Merrill ShieldsMarianne and Stan AndersonEllie CaulkinsWendy CogdalSigrid and Dick FreeseKaren FrisoneJoanna MoldowMaradith and Rusty Wilkins

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

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

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

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

HOST AN ARTISTThe Artist Host Committee, chaired by Merrill Shields

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

IF YOU ARE INTERESTED IN JOINING THE ARTIST HOST COMMITTEE

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

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

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

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

Wells FargoThe Westin Tabor Center Hotel* Whole Foods Market - Cherry CreekXcel Energy Foundation

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

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

CHORISTER ($500 +)AMG Charitable Gift Foundation

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

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

*Gift In-Kind

ANNUAL CONTRIBUTORS

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

IN HONOR OF GREGORY A. CARPENTERDorothy and Ted HorrellSandra Vinnik

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

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

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

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

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

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

IN HONOR OF MRS. CAROLYN T. MCCORMICKMolly BrindleDonna Reed

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

IN MEMORY OF OUR PARENTSPriscilla Brookens

IN HONOR OF ALESSANDRA SCHULEINChristopher Heinrich

IN MEMORY OF JAMES H. SHOREMrs. Christine Shore

IN HONOR OF NORMAN SPIREYDonna Boender

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

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

IN HONOR OF MR. BYRON WATSONTulsa Community Foundation

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

TRIBUTES

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

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GIVING VOICE TO OPERA!

You’re invited!

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

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

Lunch and outstanding entertainment

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

Lakewood Country Club, $30.00 Per PersonLunch and outstanding entertainment

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Denver LyricOpera Guild

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

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

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

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

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

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

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

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

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

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

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

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

ANNUAL CONTRIBUTORS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ANNUAL CONTRIBUTORS

VOLUNTEERS

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

STAFF GREG CARPENTER General Director

ADMINISTRATION

Darrel Curtice Director of Finance & Administration Julie Nowasell Staff Accountant

ARTISTIC

Ari Pelto Artistic Advisor

DEVELOPMENT AND MARKETING

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

EDUCATION

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

PRODUCTION

Katie Preissner Production Manager Ann Piano Costume Director

YOUNG ARTISTS PROGRAM

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

DIRECTORY TICKETS OperaColorado.org 303.468.2030

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

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

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

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

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

LOST AND FOUND 720.865.4220

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

Limelight Supper Club 720.227.9984

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BOARDOFFICERS

Michael HughesChairman

Marcia RobinsonPresident

Kenneth BarrowChair Emeritus

Martha TraceyTreasurer

Carol Crossin WhitleySecretary and Vice President

Dirk deRoosVice President

DIRECTORS

Bruce Allen

Sheila Bisenius

Michael Bock

Suzanne Dost Bucy

Ellie CaulkinsLifetime Honorary Chair

Mary Conroy

Jack Finlaw

Craig Johnson

Hon. Kenneth M. Laff

William Maniatis

Muffy Moore

Kevin D. O’Connor

Kent RiceEx Offi cio

Gerald Saul

Merrill Shields

Shirley Smith

Byron Watson

Britney Weil

Larry Zimmer

HONORARY DIRECTORS

Susan Adams

Jill Irvine Crow

Nellie Mae Duman

Hugh Grant

Jeremy Kinney

Loring W. KnoblauchLifetime Honorary Director

Pamela Merrill

Jeremy Shamos

Susan Shamos

Ovation! Magazine

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Angie Flachman-JohnsonPublisher

Wilbur E. FlachmanPresident & Founder

Annette AllenArt Director

Production Coordinator

For advertising information303-428-9529

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