Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
The Pirates of Penzance A comic opera in two acts Music by Arthur Sullivan Libretto by W. S. Gilbert Cast Friday/Sunday Saturday Major-General Stanley The Pirate King Samuel Frederic Sergeant of Police Mabel Edith Kate Isabel Ruth Charles Daniel James Held Skyler Schlenker Max Hosmer Luke Williams Meagan Mahlberg Brianna Provda Megan Schirado Caroline Vickstrom Taylor Raven Kristofer Buxton Frank Fainer Zachary Begley Paul Kroeger Chas Duthoit Abigail Triemer Megan Montalbano Caty Wilcox Sophie Malia Ledingham Kristyn Christman-McCarty Chorus of Pirates: Aaron Jenkins, Kristofer Buxton, Danny Thompson, Chas Duthoit, Kevin McKenzie, Zac Barger, Zachary Begley, Skyler Schlenker Policemen: Michael Hoffman, Nathan Ellgren, Nick Boschert, Michael Coduto, Harry James-Roxby General Stanley’s Wards Lauren Morales, Maggie Masciarelli, Sophia Dove, Kate Manley, Caty Wilcox, Susanna Jacobson, Audrey Wilson Stage Director Music Director and Conductor Sunday Conductor Assistant Conductor Chorus Master Assistant Director, Dance Captain Choreographer Lighting and Set Design Musical Preparation Rehearsal Pianists Leigh Holman Nicholas Carthy Joshua Horsch Joshua Horsch Joshua Horsch Kimmy Crawford Stephen Bertles Peter Dean Beck Mutsumi Moteki, Bob Spillman Emily Alley, Deborah Hui, Benjamin Lubbers, Alaina DeBellevue The Pirates of Penzance will run approximately 2 hours and 10 minutes, including one 20-minute intermission. A special thank you to Harlequin Costume Company of Winnipeg, Canada, for providing the costumes. Special thanks to Boulder’s Lucky’s Market for its continued support and donations to the CU Opera program. EKLUND OPERA PROGRAM — The Pirates of Penzance, Oct. 24-26, 2014 | 303-492-8008 | cupresents.org | C-1 EKLUND OPERA PROGRAM — The Pirates of Penzance, Oct. 24-26, 2014 C-2 | cupresents.org | 303-492-8008 | Orchestra Violin I Nathan Southwick Marisa Ishikawa Callie Brennan Julie Nelson Cameron May T. J. Wessel Esther Hou Sarah Elert Violin II Lauren Pokorzynski Tracy Viator Morgan Denney Krystian Salva Crystal Schneckenberg Allison Charles Viola Codi Ng Conrad Sclar Aleksa Kuzma Andrew Keeve Cello Cecelia Swanson Vela Mrdjen Ryan Farris Avery Johnson Double Bass Megan Gore Amanda Johnson Oboe Emily June Clarinet Michael Moy Kai Lai Bassoon Cameron Burnes Flute/Piccolo Elisa Muzzillo Colleen White Horn Taryn Lee Maggie Rickard Trumpet Carrie Blosser Aaron Jensen Timpani Joe Della Penna Percussion Jacob Bori Trombone Bryce Reiber Mason Jackson Production and Technical Staff Technical Director Assistant Technical Director Production Assistant Stage and Production Manager Costume Designer Costume Assistant Hand Prop and Wig Master Makeup Designer Assistant Stage Manager Assistant Stage Manager Recording Engineer Piano Technician Ron Mueller Jeff Rusnak Chris Martin Hally Albers Tom Robbins Allison Milan Tom Robbins Jeannete Hickok Lane Melott Courtney Williams Kevin Harbison Ted Mulcahey CU Presents Dean, College of Music Executive Director Operations Manager Marketing Director Communications Director Marketing and Public Relations Coordinator Graphic Designer Public Relations Assistants Programs Assistant Production Assistant Box Office Manager Box Office Services Manager Box Office Assistants Photography Robert S. Shay Joan McLean Braun Nick Vocatura Laima Haley Clay Evans Daniel C. Leonard Karen Schuster Rachel Dodson, Emily Scraggs, Colin Wichman, Amelia Weller Stephanie Doctor Margaret Romero Andrew Metzroth Michael Casey Ciara Glasheen-Artem, Sydney Bogatz, Starla Doyal, Lucas Munce, Harper Nelson, Melanie Shaffer, Bradley Steinmeyer Glenn Asakawa, Patrick Campbell, Casey A. Cass Macky Auditorium Staff Director Operations Manager Assistant Director Technical Director Assistant Technical Director House Manager Assistant House Manager Rudy Betancourt John Jungerberg Sara Krumwiede JP Osnes Rhett Snyder Rojana Savoye Nicole Anderson Program editor: Clay Evans | Cover design: Karen Schuster | Program insert layout: Emily Scraggs Synopsis Act I — A rocky seashore on the coast of Cornwall, England On the coast of Cornwall, at the time of Queen Victoria’s reign, Frederic celebrates the completion of his 21st year and the end of his apprenticeship to a gentlemanly band of pirates. The pirates’ maid of all work, Ruth, appears and reveals that, as Frederic’s nursemaid long ago, she misheard Frederic’s father’s instructions and apprenticed the boy to a pirate, instead of to a ship’s pilot. Frederic has never seen any woman other than Ruth, and he believes her to be beautiful. The pirates know better and suggest that Frederic take Ruth with him when he returns to civilization. Frederic announces that, although it pains him, so strong is his sense of duty that, once free from his apprenticeship, he will be forced to devote himself to the pirates’ extermination. He also points out that they are too kind to be successful pirates — as orphans, they feel obliged to set prisoners free if they too are orphans. Frederic notes that word of this has gotten around, so captured ships’ companies routinely claim to be orphans. Frederic invites the pirates to give up piracy and go with him, so that he need not destroy them, but the Pirate King says that, compared with respectability, piracy is comparatively honest. The pirates depart, leaving Frederic and Ruth. Frederic sees a group of beautiful young girls approaching the pirate lair, and realizes that Ruth misled him regarding her appearance. Sending Ruth away, Frederic hides before the girls arrive. The girls burst exuberantly upon the secluded spot. Frederic reveals himself and appeals to them to help him reform. One of them, Mabel, responds to his plea, chiding her sisters for their lack of charity. She offers Frederic her pity, and the two quickly fall in love. The other girls discuss whether to eavesdrop or to leave the new couple alone, deciding to “talk about the weather,” although they steal glances at the affectionate couple. Frederic warns the girls about the pirates, but before they can flee, the pirates return and capture all the girls, intending to marry them. Mabel warns the pirates that the girls’ father is a Major-General, who soon arrives and introduces himself. He appeals to the pirates not to take his daughters, leaving him to face his old age alone. Having heard of the famous Pirates of Penzance, he pretends that he is an orphan to elicit their sympathy. The soft-hearted pirates release the girls, making MajorGeneral Stanley and his daughters honorary members of their band. Act II — A ruined chapel by moonlight The Major-General sits in a ruined chapel on his estate, surrounded by his daughters. His conscience is tortured by the lie that he told the pirates, and the girls attempt to console him. The Sergeant of Police and his corps arrive to announce their readiness to arrest the pirates. The girls loudly express their admiration of the police for facing likely slaughter at the hands of fierce and merciless foes. This unnerves the police but they finally leave. until then, though to Mabel “It seems so long”; Frederic departs. Mabel steels herself and tells the police that they must go alone to face the pirates. They muse that an outlaw might be just like any other man, and it is a shame to deprive him of “that liberty which is so dear to all”. The police hide on hearing the approach of the pirates, who have stolen onto the estate, intending to avenge themselves for the Major-General’s lie. Left alone, Frederic, who is to lead the police, reflects on his opportunity to atone for a life of piracy, at which point he encounters Ruth and the Pirate King. They have realized that Frederic’s apprenticeship was worded so as to bind him to them until his twenty-first birthday—and, because that birthday happens to be on 29 February (in a leap year), it means that technically only five birthdays have passed, and he will not reach his twenty-first birthday until he is in his eighties. Frederic is convinced by this logic and agrees to rejoin the pirates. He then sees it as his duty to inform the Pirate King of the MajorGeneral’s deception. The outraged outlaw declares that the pirates’ “revenge will be swift and terrible.” Just then, the Major-General appears, sleepless with guilt, and the pirates also hide, while General Stanley listens to the soothing breeze. The girls come looking for him. The pirates leap to the attack, and the police rush to the defence; but the police are easily defeated, and the Pirate King urges the captured Major-General to prepare for death. The Sergeant has one stratagem left: he demands that the pirates yield “in Queen Victoria’s name”; the pirates, overcome with loyalty to their Queen, do so. Ruth appears and reveals that the pirates are “all noblemen who have gone wrong.” The Major-General is impressed by this and all is forgiven. Frederic and Mabel are reunited, and the Major-General is happy to marry his daughters to the noble pirates after all. Frederic meets Mabel, and she pleads with him to stay, but he feels bound by his duty to the pirates until his 21st birthday—in 1940. They agree to be faithful to each other — Wikipedia.com EKLUND OPERA PROGRAM — The Pirates of Penzance, Oct. 24-26, 2014 | 303-492-8008 | cupresents.org | C-3 EKLUND OPERA PROGRAM — The Pirates of Penzance, Oct. 24-26, 2014 C-4 | cupresents.org | 303-492-8008 | From the Stage Director Leigh Holman, Director of Opera Studies London to attend a performance at the D’Oyly Carte Opera Company and afterward contacted internationally renowned G&S baritone John Reed. At the CU Eklund Family Opera Program, we move forward. We also look back. Jackson invited Reed to Boulder to direct the Gilbert and Sullivan summer productions and he returned each year for 10 years to direct students in the G&S style. Dean Bob Fink promoted the festival and it gained a national reputation, serving as a successful recruitment tool for the college. Singers traveled from all over the country to audition for Reed and after being hired, many returned to continue their graduate vocal studies at CU-Boulder — including professional singers Raouf Zaidan and Ashraf Sewaillam, who came to the college because of the festival’s reputation. The Pirates of Penzance holds a special place in the heart of Americans. After the world premiere of Gilbert and Sullivan’s comic opera in New York City, in 1879, The New York Times praised the work, writing, “it would be impossible for a confirmed misanthrope to refrain from merriment over it.” It was an instant hit in New York and remained a hit even as W.S. Gilbert, Arthur Sullivan and D’Oyly Carte took it back to London for its 1880 premiere. Much like the relationship between Americans and The Pirates of Penzance, Boulderites have a deep connection to Pirates and other works of Gilbert and Sullivan. Opening in 1980, former CU Opera Director Dennis Jackson, professor of voice, and opera professor Kuniaki Hata began the Gilbert and Sullivan Summer Festival at the CU College of Music. The two went to From the Music Director Nicholas Carthy Many years ago, while I was giving a pre-concert lecture on Edward Elgar’s symphonic music, I blithely claimed that he was the first proper English composer since the death of Henry Purcell, in 1695. After the lecture I was collared by a gentleman who introduced himself as the president of the Sir Arthur Sullivan society. He took me to task for failing to recognize that Sullivan, born 15 years before Elgar, deserved that title, or at the very least, Sullivan would have been the first great composer since Purcell had he not been sidetracked by that wordsmith W.S. Gilbert, and the need to earn his daily bread. He also pointed out quite forcefully that his society had absolutely nothing to do with the Gilbert and Sullivan society, and made clear just what he thought of that complete oeuvre. And thus the legacy of one of the most successful, and fraught, artistic partnerships the world has known continues. Sullivan was born in 1842. His father was a military bandmaster and by the time Arthur was 8, he was already proficient in all the instruments of the band. He studied in London and Leipzig and very soon was being touted as England’s most promising young composer. But that did not pay the bills and Sullivan was unable to make a living on his commissions alone. And so he turned his hand to comic opera. Sullivan’s first opera, Cox and Box (1866), to words by F.C. Burnand, was criticized by a young Gilbert (then writing dramatic critic for the magazine Fun) for being “in many places, of too high a class for the grotesquely Reed’s productions took hold in the hearts of Boulder audiences and a strong G&S fan base emerged. Since Jackson’s retirement, few G&S titles have been revived, so we felt it was time to rekindle the fire that John and Dennis started with this production of The Pirates of Penzance. It is my hope that you too will experience the humor, the music, the vitality and indeed, the legacy, represented in tonight’s production. absurd plot to which it is wedded.” Sullivan was eventually introduced to Gilbert by a mutual friend, the composer Frederic Clay, in 1869. Two years later Gilbert and Sullivan collaborated for the first time. The 1870s were a time of enormous change in the arts. A rapidly growing, better educated, middle-class needed to be entertained, so theaters were shedding their seedy reputation and starting to produce more family-friendly entertainment. The introduction of street lighting also meant that the journey home from the theater late at night was much safer. One of the great theatrical innovators at that time was Richard D’Oyly Carte, probably the most successful theater owner and impresario of the 19th century, and it was he who brought Gilbert and Sullivan into his fold. The successes came thick and fast, and brought the three men fame and fortune. But after about seven years of astonishing achievement, Sullivan was ready to move on. He had had no success at all trying to persuade Gilbert to try more serious fare, and his contract with D’Oyly Carte gave him no time to realize his ambition of writing the first English grand opera. He was also under great pressure from the musical establishment to abandon comic opera and reclaim his title as England’s first serious composer in 150 years. But just as he was about to break free, in November 1882, he suffered a massive financial loss when his broker went bankrupt, and so felt obliged to sign a contract with D’Oyly Carte for a further five years of Gilbert and Sullivan. The relationship between the two men became increasingly troubled. In March 1884, Sullivan told Carte Carthy (cont.) “it is impossible for me to do another piece of the character of those already written by Gilbert and myself.” Nevertheless the pair produced several new works in this period, including their most successful opera, The Mikado. The partnership eventually disbanded in 1890, not because of Sullivan, but because of what became known as the “carpet incident.” In this convoluted tale, briefly told, Gilbert found discrepancies in the accounts of D’Oyly Carte pertaining to the purchase of carpet for the front of house at the Savoy theatre and things escalated from there, culminating in a vexatious law suit. Freed from his obligations, Sullivan went on to realize his dream of writing a grand opera. Ivanhoe, based on the book by Sir Walter Scott, opened in January 1891. That was not, however quite the end of their collaboration. There was a sort of reconciliation that year and they penned two more operas, neither of which was very successful. The relationship soured anew and at a party to celebrate the anniversary of their first work, The Sorcerer, in 1898, the two men refused to talk to one another. Sullivan died in 1900. There are many ravishing moments in The Pirates of Penzance, as well as brilliant parodies of French operetta, Italian bel canto, and the English hymnal and psaltery. It is definitely the work of a master, with an assured dramatic hand, and an extremely deft touch. It is very interesting (though probably ultimately useless) to speculate on what Sullivan might have become, had there been no Gilbert, but, had that been the case, we would not have had the The Pirates of Penzance, one of the most delightful little gems of the operatic repertory. The Company Hally Albers (Production Stage Manager) Hally Albers is a stage management instructor at Colorado State University. She has been stage manager with the San Francisco Opera, Spoleto Festival, Los Angeles Opera, Opera Fort Collins, the University of Northern Colorado and the Central City Opera. She has been assistant stage manager with the Santa Fe Opera and Houston Grand Opera. Zachary Barger (Pirate) The Pirates of Penzance marks baritone Zachary Barger’s first performance with CU Opera. His credits at the University of Colorado Boulder are Hanschen Rilow in Spring Awakening and male soloist in Songs I was Born to Sing (CU Fringe Festival). He was an Anderson’s Competition finalist in spring 2014. He will appear in November in Jason Robert Brown’s Songs for a New World (CU Theatre and Dance). He is a sophomore vocal performance BM candidate studying under Professor Patrick Mason. Peter Dean Beck (Set and Lighting Designer) Peter Dean Beck has been with CU Opera for 21 seasons. His past productions include La Traviata, Don Giovanni, Candide, Carousel, Dead Man Walking, Susannah, West Side Story, La Boheme, The Magic Flute, Hansel and Gretel and The Elixir of Love. His other professional credits include the Hawaii Opera Theatre, Arizona Opera, Atlanta Opera, Skylight Opera Theatre, Edmonton Opera, Virginia Opera, Chautauqua Opera (New York), Opera Hong Kong and the Florida State Opera. Zachary Begley (Samuel) Zachary Begley’s credits with CU Opera include Jamie in Side by Side by Sondheim, Dreadon in Aunt Maggity’s Dark and Stormy Night, chorus in La Bohème and Falstaff, and pit orchestra in Oklahoma!, All Shook Up and Seussical the Musical. Begley is currently pursuing a BM in voice performance at the University of Colorado Boulder. Kristofer Buxton (Major General Stanley/Pirate) Kristofer Buxton performed as Hal in CU Opera’s Side by Side by Sondheim. His other credits include Charlie in The Foreigner and ensemble in At Buffalo (CU-Boulder Theatre and Dance), and Warner in Legally Blonde (Arvada Center Teen Intensive). He was nominated for the Kennedy Center American College Theater Festival Irene Ryan Award, 2013 and is a student of John Grau. Nicholas Carthy Music Director/Conductor Nicholas Carthy, in his ninth season with CU Opera, studied at the Mozarteum in Salzburg and made his conducting debut at the Landestheater in Le nozze di Figaro. He also served as musical assistant to Bernard Haitink and Sir Georg Solti at the Salzburg Festival. Carthy made his Italian conducting debut with the Camarata Accademiz of Salzburg and since then has conducted opera productions in Vienna, Salzburg, Oslo, Stockholm, Winterthur, Milan, Rome, Naples, Bonn, Eugene and Tel Aviv. He has conducted orchestras including Royal Philharmonic Orchestra Stockholm, Colorado Symphony Orchestra, Nordwestdeutsche Philharmonie, Orchestra RAI di Torino, Orchestra San Carlo di Napoli and the Accademia Filarmonica Roma. As a sought-after vocal accompanist, he has performed in many of the world’s great halls, including Carnegie Hall, Suntory Hall, Wigmore Hall, Bolshoi Theatre, Musikverein Vienna, La Scala and the Schubertiade in Hohenems. Kristyn Christman-McCarty (Ruth) Kristyn Christman-McCarty’s credits with CU Opera include Elaine in Side by Side by Sondheim, Die Knusperhexe in Hänsel und Gretel, Jo in Little Women and Dame Quickly in Falstaff. She also originated the roles of Constance Fennimore Woolson in The Master and Ms. Which in A Wrinkle in Time with CU New Opera EKLUND OPERA PROGRAM — The Pirates of Penzance, Oct. 24-26, 2014 | 303-492-8008 | cupresents.org | C-5 EKLUND OPERA PROGRAM — The Pirates of Penzance, Oct. 24-26, 2014 C-6 | cupresents.org | 303-492-8008 | Workshop. Other roles include The Third Lady in The Magic Flute, Olga Olsen in Street Scene, La Voix in Les Contes d’Hoffmann, La Maestra in Suor Angelica and Susanna Walcott in The Crucible with the Hillman Opera Company at SUNY Fredonia. She received her BME and BM from SUNY Fredonia in 2011. She is currently pursuing an MM while studying with Jennifer Bird-Arvidsson. Kimberly Crawford (Assistant Director, Dance Captain) Kimberly Crawford’s past roles with CU Opera include Lee in Side by Side by Sondheim, Dew Fairy in Hansel and Gretel and ensemble in La Bohème, The Rakes Progress, Suor Angelica, Le Nozze di Figaro, Carousel and Don Giovanni. Her other roles include Venere, L’incoronazione di Poppea (Manhattan School of Music Summer Voice Festival), Mimi Marquez in Rent (CUBoulder Theatre) and Sharon Graham in The Master Class (CU-Boulder Theatre/College of Music). Her honors include the Undergraduate Development Award at CUBoulder in 2013, singing the National Anthem at the Leeds School of Business commencement, 2012, and the Diverse Music Alliance Scholarship at CU, 2012. She graduated in spring 2014 with a BM in vocal performance with emphasis in theater electives. Charles Daniel (Major General Stanley) Charles Daniel’s CU Opera roles include Tito and Mr. Webster in The Master and covering Peter in Hänsel und Gretel. Other roles include Vicomte Cascada in The Merry Widow (Birmingham Music Clubs), Cervantes/ Don Quixote in The Man of La Mancha (The University of Alabama at Birmingham), The Abbot and Astrologer in Britten’s The Burning Fiery Furnace (UAB), Athamas in Handel’s Semele (UAB), Count Almaviva in scenes from The Marriage of Figaro (UAB) and First Priest in The Magic Flute (UAB). A tenor, he is pursuing a MM in voice performance and is a scholarship recipient at the University of Colorado Boulder. His voice teacher is Grammy Award-nominated baritone Patrick Mason. Daniel debuted his first operatic tenor role in the summer of 2014 for Caruso’s The Master at CU New Opera Workshop. Charles Douthit (Sergeant of Police, Pirate) Charles Douthit has also performed as a chorus member in Falstaff and The Rake’s Progress (CU Opera). He is pursuing his choral BME at the College of Music and studies with Patrick Mason. Sophia Dove (Ward) Sophia Dove’s credits at CU Opera include Sandman Hänsel und Gretel, chorus in Le Nozze di Figaro and Falstaff, and the cover of Elvira in L’italiana in Algeri. Her other credits include chorus in Tosca (Cedar Rapids Opera Theater) and Zerlina in Don Giovanni (Taos Opera Institute). Nathan Ellgren (Policeman) Nathan Ellgren’s theatrical credits include Ensemble in Spoon River Anthology (Boulder Acts), Galen in Believe and Van in Dog Sees God (CU-Boulder Fringe Festival), understudy for all male roles in Metamorphoses, Alan Seymour in Picnic (CU-Boulder Theatre), Todd in Far Away, ensemble in Litmus, Student/Mormon Missonary in 14 (CU-Boulder Theatre). His musical theater credits include Leon Czolgosz in At Buffalo:The (CU-Boulder Theatre), Simon Stride in Dr. Jekyll and Mr. Hyde: The Musical (Dairy Center for the Arts), Brad in Sexting: The Musical (CU-Boulder Fringe Festival) and Frank Decker in Working: The Musical (Osseo High School). Frank D. Fainer (The Pirate King) Frank D. Fainer’s credits with CU Opera include Stevie in Side By Side by Sondheim, Schaunard in La Bohème and Jesus in Godspell (Scottsdale Community College). James Held (Pirate King) James Held’s CU Opera credits include The Father (Peter) in Hänsel und Gretel and Alcindoro in La Bohème. Other credits include Creonte in Cherubini’s Medea, (University of Wisconsin-Madison), Leporello in Don Giovanni and Flynt/Gremio in Kiss Me, Kate, Sid in Albert Herring and Dick McGann in Street Scene (Seagle Music Colony). He also has now premiered two operas, performing the role of Hendrik Christian Andersen/ Hammon in The Master (CU New Opera Workshop) and The British Guy in Wired for Love (Madison New Muse). He is the Coulter Scholarship recipient at CU-Boulder and received the Warzyn-Thorpe and Opera Props Scholarships from UW-Madison. He received his BM in vocal performance from the University of WisconsinMadison, where he studied under baritone Paul Rowe. Held is a second-year MM vocal performance student at the University of Colorado Boulder, studying with Patrick Mason. Michael Hoffman (Policeman) Michael Hoffman’s previous roles include Dreuet/George Jr. in Sister Carrie (Florentine Opera Co.) chorus in Cosi fan tutte, Die Zauberflöte, Parables, Die Fledermaus and The Bartered Bride (University of Minnesota). He is a first year MM vocal performance student studying with Patrick Mason. He earned a BM in vocal performance from the University of Minnesota in 2014. Leigh Holman Director of Opera Studies Leigh Holman balances her teaching and professional stage directing career in the US and abroad. As well suited to new operatic works as she is to traditional works, she has produced and directed workshops of operas in association with composers including Libby Larsen, Herschel Garfein, Lori Laitman, Robert Aldridge, Daniel Kellogg and Kirke Mechem. As founder of CU NOW (New Opera Workshop), she continues to passionately promote the creation, collaboration and production of new American works. Joshua Horsch (Conductor/Assistant Conductor/Chorus Master) Joshua Horsch’s current positions include assistant conductor/rehearsal pianist for Fort Worth Opera, co-music director/conductor of the CU Symphony Orchestra, assistant conductor for the CU Symphony and Chamber Orchestras and assistant conductor/chorus master for CU Opera. His other positions have included guest music director for CU Opera’s production of Side by Side by Sondheim, assistant chorus master for the Colorado Music Festival, conductor/pianist for CU New Opera Workshop, conductor/pianist for the Newport Music Festival and staff music director/conductor for the Boston Opera Collaborative. Guest conducting engagements include Las Orquestas Sinfónicas de Tarija and the Lyatoshinsky Chamber Orchestra of Ukraine. His workshop conducting includes the Baltimore Symphony Orchestra, the Oregon Bach Festival Orchestra and Chorus and the Bohuslav Martinu Symphony Orchestra. He received a MM degree in orchestral conducting from the Pennsylvania State University and a BM degree in piano performance from Ithaca College. Max Hosmer (Frederic) Max Hosmer’s CU Opera credits include Rodolfo in La Bohème, Henry James in The Master, Bruce in Side by Side by Sondheim, Laurie in Little Women, Fenton in Falstaff, Calvin O’Keefe in A Wrinkle in Time, Sellem in The Rake’s Progress, Eduardo in La Cambiale di Matrimonio, Rinuccio in Gianni Schicchi, Lefty Calibrini in Ludlow and Don Basilio/Don Curzio in Le Nozze di Figaro. His other credits include Young Collector in A Streetcar Named Desire (Townsend Opera Players), Fenton in Falstaff (Emerald City Opera) and Gastone in La Traviata (Townsend Opera Players). His honors and awards include the Bernard Polak Memorial Award and the Myrle F. Hoffman Award from the Denver Lyric Opera Guild Competition and 2nd place in Division II of the National Opera Association Collegiate Opera Scenes Competition. Hosmer is a student of Patrick Mason and Matthew Chellis. Susanna Jacobson (Ward) Susanna Jacobson has recently appeared in the chorus of Mozart’s Cosí fan Tutte (Bethesda Summer Music Festival). She is a sophomore BME student at CU-Boulder. Harry James-Roxby (Policeman) Harry James-Roxby’s CU-Boulder credits include Georg in Spring Awakening, General Glossop in Jekyll & Hyde. He is a junior at the University of Colorado Boulder and has recently been working with Full Body Singing. Aaron T. Jenkins (Pirate/cover for Fredric) Aaron T. Jenkins’ CU Opera credits include chorus in The Rake’s Progress, Bardolfo in Verdi’s Falstaff and Bruce in Side by Side by Sondheim. Paul Kroeger (Fredric) Paul Kroeger’s credits include Albert Herring in Britten’s Albert Herring, Don Basilio in Mozart’s Le Nozze di Figaro and Orpheus in Offenbach’s Orpheus in the Underworld (Southern Methodist University) and Lindoro in L’itlaiana in Algeri (Seagle Music Colony, New York). In summer 2014 he sang with CU NOW at CU-Boulder, where he is pursuing a MM under Patrick Mason. Named one of 13 people to watch in 2013 by FD Luxe, the fashion and culture magazine of The Dallas Morning News, Kroeger graduated summa cum laude from Southern Methodist University in May 2013. Sophie Ledingham (Isabel/Ward) Sophie Ledingham sang in the ensemble of La Bohème with CU Opera. Her other roles include the Drowsy Chaperone in The Drowsy Chaperone, Crystal in Little Shop of Horrors, and Sylvia in All Shook Up (Theatre Aspen School). She is pursuing a BM in vocal performance at CU-Boulder and studies with Jennifer Bird-Arvidsson. Meagan Mahlberg (Mabel) Meagan Mahlberg’s credits with CU Opera include Countess in Le Nozze di Figaro, Marcellina in Le nozze di Figaro, Susannah in Susannah, Violetta in La Traviata, Elvira in Don Giovanni and Queen of the Night in The Magic Flute (which she also performed for a benefit concert with the Boulder Youth Symphony), Elektra in Idomeneo, Echo in Ariadne auf Naxos and Bianca in The Rape of Lucretia. Her other credits include Vanessa in Vanessa (Boulder Opera), Hetty in The Clever Artifice of Harriet and Margaret (world premier for composer Leanna Kirchoff) and Suor Angelica in Suor Angelica (Opera Oggi, New York). A student of Jennifer Bird-Arvidsson, Mahlberg is currently pursuing the PC program at the University of Colorado. Mahlberg earned her MM in voice performance and BM in voice performance from at CUBoulder, where she is pursuing a performance certificate and studying with Jennifer Bird Arvisson. Kate Manley (Ward) Kate Manley’s CU Opera credits include chorus in La Bohème, Le Nozze di Figaro and Suor Angelica. She is a senior at the University of Colorado Boulder majoring in vocal performance. Maggie Masciarelli (Ward) This is Maggie Masciarelli’s first production with CU Opera. Her previous credits include Baker’s Wife in Into the Woods and Ida Strauss in Titanic the Musical (Centerstage Theatre Company), and Vivienne Kensington in Legally Blonde the Musical (Fairview High School). She is pursuing a BME in choral music education at CU-Boulder. Kevin McKenzie (Pirate) Kevin McKenzie’s credits with CU Opera include chorus in Falstaff and La Bohème. He studied with Dr. John Grau during the 2013 school year and he is currently pursuing a BM vocal performance degree under Matthew Chellis. Megan Montalbano (Edith) Megan Montalbano performed with the ensemble in CU Opera’s La Bohème. Her credits with CU-Boulder Theatre include Rona in 25th annual Putnam County Spelling Bee and Audrey in As you Like it. Her other credits include Steph/Ensemble in RENT (Ignite Theatre Co.), Ermengarde in Hello Dolly and Mrs. Webb in Our Town (Country Playhouse). She is a BFA musical theater student. EKLUND OPERA PROGRAM — The Pirates of Penzance, Oct. 24-26, 2014 | 303-492-8008 | cupresents.org | C-7 EKLUND OPERA PROGRAM — The Pirates of Penzance, Oct. 24-26, 2014 C-8 | cupresents.org | 303-492-8008 | Lauren Morales (Ward) Lauren Morales’ credits with CU Opera include Clorinda in La Cenerentola and chorus in Falstaff. She is a senior BM student at CU-Boulder and is a student of Abigail Nims. Ron Mueller (Technical Director) Ron Mueller has been with CU Opera for 17 seasons. His past CU Opera productions include La Traviata, West Side Story and Dead Man Walking. His other professional credits include Skylight Opera, University of Wisconsin-Milwaukee, Colorado Shakespeare Festival and Boulder’s Dinner Theatre. Brianna Provda (Edith) Brianna Provda’s CU-Boulder credits include Dottie in Side by Side by Sondheim (CU Opera) and Meg in Little Women and Denise in 14 (CU Theatre and Dance — Kennedy Center American College Theatre Awards first place winner). Her other credits include Anne in A Little Night Music (Harrower Summer Opera), Ariel in Footloose (Musical Theatre Village) and Samantha/Kaya/Molly in The American Girls Revue (American Girl Theatre Los Angeles). Her awards include Musical Theatre Finalist Kennedy Center American College Theatre Awards, second place, NATS Regional Denver Auditions, first place, California Thespian Festival and Top Ten Finalist in Vocal Performance, Orange County Icon. She is a student of Matthew Chellis and Adam Ewing and will graduate in December with BFA in musical theater. Taylor Raven (Ruth) Taylor Raven’s other roles with CU Opera include Lady Wolseley, Governess and Miss Loring in The Master, Die Knusperhexe in Hänsel und Gretel and chorus in La Bohème. Her other credits include Annio in La Clemenza di Tito, Martha in Dream Lovers, La Voix in Les Contes D’ Hoffman (University of North Carolina at Chapel Hill). Her honors and awards include UNC Concerto Voice Finalist, 2012 and the Hayden B. Renwick Achievement Award, 2013. She is pursuing a MM in voice performance and studies with Abigail Nims. Tom Robbins (Costume Designer) Tom Robbins has been with CU Opera for 23 seasons. His past CU Opera credits include Don Giovanni, Anything Goes, Susannah, Carousel and The Rake’s Progress. His other professional credits include Bonfils Theater, Opera Colorado and the Colorado Ballet. Megan Schirado (Kate) Megan Schirado’s CU-Boulder credits include Hänsel in Hänsel und Gretel, chorus of La Bohème and Maggie in The Clever Artifice of Harriet and Margaret (CU Opera). Her other credits include Meg Page in The Merry Wives of Windsor/Falstaff (Johanna Meier Opera Theatre Festival) and Dido and Aeneas (Northern State University). She earned first place in the 2013 National Association of Teachers of Singing competition and has performed “Parto, ma tu ben mio” from La Clemenza di Tito as a guest soloist with the NSU Civic Symphony Orchestra. Schirado is currently an MM student at CU-Boulder. Skyler Schlenker (Samuel/Pirate King cover/Pirate chorus) This is Skyler’s Schlenker’s first performance with CU Opera. His previous credits include Second Man in Armor in The Magic Flute and Cerberus in L’Orfeo (Ithaca College). For summer 2014 he was a young artist with the Janiec Opera Company at the Brevard Music Center, where he performed the role of Kromov in The Merry Widow, several roles in the world premier of Speed Dating Tonight, and ensemble in Falstaff. Schlenker is pursuing a BM in vocal performance major at CU-Boulder and has a BA in drama from Ithaca College. Daniel Thompson (Pirate) Daniel Thompson sang the role of Louis in Side by Side by Sondheim with CU Opera. He is studying computer science engineering and vocal performance at CUBoulder. Abigail Triemer (Mabel) Abigail Triemer performed the role of Gretel in Hänsel und Gretel with CU Opera. Her other credits include Serafina in Il Campanello di Notte and Corinna in Il Viaggio a Riems (Wichita State University) and Soeur Constance in Dialogues des Carmelites (Opera Academy of California). She earned a BM from Wichita State University in 2013. Caroline Vickstrom (Isabel) Caroline Vickstrom’s CU Opera credits include Dottie in Side by Side by Sondheim and chorus in La Bohème. Her other credits include Lisa in Quilters (CU-Boulder Theatre) and Leisl in The Sound of Music (Evergreen Chorale). She studies vocal performance with Abigail Nims. Catherine Wilcox (Kate) Catherine Wilcox’s CU Opera credits include Bianca in The Rape of Lucretia and Ursule in Beatrice et Benedict (opera scenes program). She was a finalist in the 2013 CU-Boulder Anderson competition and is currently pursuing a BM degree. Luke Williams (Sergeant) Luke Williams’ CU Opera credits include Pistola in Falstaff and Father Trulove in The Rake’s Progress. His other credits include Lucas in The Student Prince, Lodovico in Otello, Sciarrone in Tosca (Utah Festival Opera), Marco in A View from the Bridge, Superintendent Budd in Albert Herring (Indiana University) and Angelotti in Tosca (Opera Delaware). Audrey Wilson (Ward/cover for Ruth) This is Audrey Wilson’s first performance with CU Opera. Her other roles include The Monitor in Suor Angelica and Venere in L’incoronazione di Poppea (Oakland University). She is a first year MM student in vocal performance/ pedagogy and studies voice with Abigail Nims.