CU Eklund Opera offers “toe-tapping good music”

Handel’s 1709 opera Agrippina will be streamed starting Friday

By Peter Alexander May 13 at 9:30 p.m.

“It’s toe-tapping good music,” Leigh Holman, director of the CU Eklund Opera Theater, says. “There’s always a beat going!”

George Frideric Handel by Balthasar Denner

She’s talking about the company’s next production, Handel’s 1709 opera Agrippina, which opens in a streamed production at 7:30 p.m. Friday (May 14). The stream, which is offered on a pay-what-you-can basis, will be available here for three weeks, until 11 p.m. Friday, June 4.

The opera was rehearsed and performed with strict observance of social distance protocols. After a postponement due to the March snowstorm, two casts were filmed over a single weekend in the Music Theater of the Imig Music Building. The singers will be accompanied by a reduced orchestra of five players under the direction of Nick Carthy.

Baroque opera can be a challenge for audiences, because the stories are often based on classical mythology or, in the case of Agrippina, Roman history that may be unfamiliar to modern listeners. The music is presented in a series of arias that expose emotions, alternating with recitatives that advance the action. With all the arias structured the same, the lack of variety can be monotonous.

“That’s where I come in,” Holman says, referring to all the ways she as director can make the show accessible and more fun to watch. In the case of Agrippina, a story about the rise of the infamous Roman emperor Nero, Holman and CU have placed the production the board room of a modern high-tech firm in Silicon Valley.

For longtime PBS fans, the story of Agrippina starts up where the 1976 TV series I, Claudius leaves off. Emperor Claudius’ wife Agrippina wants her son, Nero, to be the next emperor—or in the CU production, the next CEO. When a false report arrives of Claudius’ death, she goes into overdrive trying to position Nero for the top job.

Bust of Nero at the Capitoline Museum, Rome

When Claudius turns up alive, Agrippina tries to manipulate everyone—Nero, who desperately wants to be emperor; Ottone, who is madly in love with Poppea; Claudius, who also lusts for Poppea; Poppea herself; and several minor characters—to clear the way for Nero’s ascent. After many twists and turns, Claudius realizes that Nero wants to be emperor and Ottone wants to marry Poppea, which he facilitates. Everyone is happy—for the moment. (History tells more that is not in the opera.)

In spite of the high stakes game being played by everyone, Holman insists that the opera is funny. “It’s a comedy, and we really had a good time bringing that out,” she says. “There is a pair, Pallante and Narciso, [who] are goofballs.”

At the same time, there are arias that are serious. “The aria by Ottone, when he realizes that nobody wants him and he’s left all alone—he sings this gorgeous aria and it’s one of the most touching things in the world.

“But in the next scene you’ve got goofball antics.”

Leigh Holman

Holman had to get the students to find the right groove for the opera’s comedy. “I kept saying to the students, I know this is Handel, and I know that this music is hard for you to sing,” she says. “But for those moments that are funny, don’t be too reverent!”

Handel, Holman likes to point out, wrote operas for entertainment. “This is for people to enjoy,” she says. “There are some very touching moments, but most of all it’s just entertainment and there’s nothing wrong with that. We need that right now!”

This is the third Baroque opera Holman has directed at CU. There was Monteverdi’s Coronation of Poppea—which takes up where Agrippina leaves off—in 2015, and Handel’s Ariodante in 2018. “Baroque opera is a challenge, because the actors, the director and the conductor can find so much,” she says. 

“There’s so much room to dig without it being handed to you. It opens up lots of different different ways to play it. I think that’s fun.”

The difficulty of having so many arias strung together, all in the same structure—diagrammed ABA—Holman sees as another challenge to the performers. She asks the singers what changes during the aria. “How does the character change in that aria,” she asks, “during A and then the different music in the B section, and then going back (to A)—why does the character do that? That gets them to think about those things.”

The singers have responded to the challenges of Baroque opera. “These students are very serious,” Holman says. “The only thing they need to do is read about the history of these characters. They’re really good about it—they seem to enjoy it.”

Holman has no doubt that people will enjoy Agrippina. “The music’s beautiful, and this is one of the greatest groups of singers we’ve had at CU,” she says. “People that are attracted to opera because they want to hear good voices, they’re going to get it. If they like good storytelling, they’ll be really happy. If they like good acting, they’re going to see students that are doing far more than I could ever imagine.

“There’s something for everyone in this production.” 

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CU Eklund Opera
George Frideric Handel: Agrippina
Performed in Italian with English titles

Leigh Holman, stage director
Nicholas Carthy, music director

Stream available at 7:30 p.m. Friday, May 14, though 11 p.m. Friday, June 4.

Full cast and credits, and pay-what-you-can access to the streamed performance, are here.

Opera in a time of pandemic

Following strict health protocols, CU stages Hansel and Gretel for streaming

By Peter Alexander Dec. 9 at 4:15 p.m.

Putting on a staged opera during a pandemic is challenge.

There are many restrictions: distancing of performers, at least 12 feet because of the spread of aerosols by singers; no orchestra in the pit; rehearsal and performance space having to be aired out every 30 minutes; and of course no audience.

Leigh Homan

All of those challenges and more have been met by CU Eklund Opera director Leigh Holman and music director Nicholas Carthy. Fully staged, streamed performances of Engelbert Humperdinck’s Hansel and Gretel will be available online starting at 7:30 p.m. Friday, Dec. 11, through 11 p.m. Monday, Feb. 15, 2021.

The pandemic has had a major effect on the CU opera program. But the students depend on their experiences at CU to prepare for their careers, and Holman and Carthy were not willing to lose a full year of students’ educations.

The pandemic arrived in March just as the opera program was preparing Mozart’s Marriage of Figaro. “When we got in dress rehearsal for Figaro and that turned into nothing, the outpouring of both grief and love was enormous,” Carthy says.

The opera planned for the late spring was Beatrice and Benedict by Hector Berlioz. Unwilling to let it drop, Carthy and Holman found a way to record individual musical numbers with singers performing separately. Holman worked over the summer with a videographer to make those numbers available online (see the final product here.) 

After that, they turned their attention to the fall production. As it turns out, Hansel and Gretel is the ideal opera to produce at this time: the cast is small, the opera is fairly short, which made it easier to observe time limits singing together, and it is a Christmas tradition in many opera houses. And another benefit: CU produces the opera every few years, so there was a complete set and costumes in storage.

Nicholas Carthy

But obstacles remained, including the orchestra. “We were told by the College of Music in no uncertain terms that we could not have the orchestral members to do it,” Carthy says. But rather than deny the students the opportunity of singing with an orchestra, he entered the entire score into a music writing program and sampled the score through a symphonic sound library. The result is a sampled orchestra, using real players and instruments.

Carthy set the tempos throughout. The performance tempos are not rigid—there are ritardandos and accelerandos—but they will be the same each time. “My role changed from somebody whose sole object in the pit is to be with the singers, to somebody who has to force the singers to be with me,” Carthy explains.

Holman had her own obstacles. “We had quite a list of protocols that we needed to follow (to stay safe),” she says. “When we practiced the staging all of the singers wore masks.”

They had to limit the singing in rehearsals, Holman says, because “even if you sing through the mask it starts the clock, and you can only sing for 30 minutes before you have to leave the room for 15 minutes.”

For the early staging rehearsals, no one sang—a rehearsal pianist would play the score while the singers spoke their lines in rhythm. “Once we had a scene ready to sing through, they would take their masks off,” Holman says. “We sang for 30 minutes and then left the room.”

Linsey Duca, Tommy Bocchi and Kely Riordan observing social distancing in CU’s Hansel and Gretel

The staging too had to observe the protocols. The singers had to stay 12 feet apart. ”Our technical director Ron Mueller was so helpful in marking out the stage so that we knew exactly where 12 feet was,” Holman says.

“We tried to make it as active as possible but stay 12 feet apart——a lot of circles around the stage. There’s a sword fight with brooms but the brooms are six feet long, and we used little bandanas that they could use when they weren’t singing, or when (Hansel and Gretel) were asleep under the trees.”

The stored sets for Hansel and Gretel were designed for Macky Auditorium, but the rehearsals and recordings took place in the much smaller Music Theater. This meant individual set pieces had to be combined on the small stage; scenic artist Jennifer Melcher Galvin hand painted a backdrop that other set elements could fit into. “It is one of the stars of the show!” Holman says. “It really brings it all together.”

The performances will feature three different casts, two singing the original German and one singing an abridged version of the opera in English, designed for school outreach, that lasts about an hour. Purely orchestra material—the overture and the Witch’s Ride—are cut from both versions. All the performances were taped the weekend of Oct. 24–25.

Tenor Tommy Bocchi as the Witch

You will notice that in all three casts, the witch is sung by a male tenor. This is often done in opera houses, to give the witch an additional bit of humor and to add a man’s voice to a cast dominated by women. In CU’s case, there is another reason: a male witch gives more male students the opportunity to be cast. 

Although the origin of the Hansel and Gretel fairy tale is quite dark, Carthy and Holman point out that the opera is more humorous than scary. In the opera, Carthy says, “It wasn’t an evil stepmother, it was a mother with two boisterous children and a headache. And the witch has to be so funny!”

Holman agrees. “This is a story about a real family who love each other but they are going through hard times,” she says.

It is overcoming the challenges of presenting opera at all that Holman keeps coming back to. “We really paid attention and stressed the protocols that our epidemiologist gave to us,” she says.

“Our singers were very, very serious about these protocols. I did want to make that point, because when people see the video of people on stage together, that can make them nervous. Everybody did take it so seriously. And we’re really proud of them about that.”

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Hansel and Gretel by Engelbert Humperdinck
CU Eklund Opera
Nick Carthy, conductor
Leigh Holman, stage director

Stream available from 7:30 p.m. Friday, Dec. 11, through 11 p.m. Monday, Feb. 15

Detailed program information and stream access available here.

NOTE: Edited for clarity 12/9/20

CU Eklund Opera production of “Marriage of Figaro” now available online

Spring performances were canceled due to Coronavirus

By Peter Alexander June 23 at 9 p.m.

The University of Colorado College of Music/Eklund Opera student production of Mozart’s Marriage of Figaro was in the final week of dress rehearsals in March.

PR still for the Eklund Opera production of Le Nozze di Figaro (Photo by Glenn Asakawa—University of Colorado)

The production, under the musical direction of conductor Nick Carthy and stage directed by Eklund Opera director Leigh Holman, promised to be an outstanding realization of one of the greatest—or the greatest—operas in the repertoire. (Read my original preview story in Boulder Weekly.)

But at one of the very last dress rehearsals, Holman had to tell the cast that all performances on the CU campus had been canceled. They ran through the opera one last time, they cried, they hugged one another, and then they went home.

Now that final dress rehearsal has been made available through CU Presents. You can access the stream of the full dress rehearsal here. The stream is described as a “pay what you can performance,” in which viewers are asked to make whatever contribution they can afford after watching the stream.

The performance lasts 150 minutes (2 hours, 30 minutes), and has English titles throughout. The CU Presents Webpage does not say how long the stream will be available.

Eklund Opera’s “Marriage of Figaro,” production shot.

UPDATE: Cancellations of CU Performances; statement from Boulder Phil

Eklund Opera, Takács Quartet are included in the latest round of cancelations

By Peter Alexander March 11 at 3:57 p.m.

CU Presents and the University of Colorado, Boulder. have just announced the cancellation of all Spring 2020 College of Music events. Their statement specifies that:

This includes Eklund Opera, Artist Series, Takacs Quartet, ensemble performances and all other events. We will be in touch with ticketholders soon regarding next steps.

Please note that this includes the Eklund Opera production of  The Marriage of Figaro (scheduled for March 13–15) and the performance by the Kronos Quartet (March 19) previously covered in Boulder Weekly and on this blog.

The following is also posted on the CU Presents Web page:

We are currently working with the university to understand the impact this has on our events and will update patrons with more information as soon as possible. . . . CU Presents is committed to the health, safety and wellbeing of everyone at our events. We are actively monitoring the global coronavirus or COVID-19 situation and would like to point you to updates and resources from the University of Colorado Boulder and Boulder County Health.

The Boulder Philharmonic has sent a statement to its patrons and ticket buyers concerning the cancelation of its upcoming concerts March 21 and 22. This information will be shortly available on the Boulder Phil Web page.  Here is the message that has been sent to patrons:

We regret to report that the Boulder Phil will be unable to proceed with concerts scheduled for March 21 at Macky Auditorium and March 22 at Pinnacle Performing Arts Center. CU announced today the suspension of all campus classes and gatherings, and we are supporting public health and safety by suspending our concerts until the virus threat has passed. We hope these preventative measures will be effective as our community does its part to protect our citizens.
We view this change as a postponement, and we will reschedule the concert if at all possible. We will keep you informed of developments as we have information.
For all ticket holders, your tickets is valid for a rescheduled performance of this program, or for exchange to a future concert. If you prefer you may donate the value of your ticket to the Phil, or request a refund, by calling the box office, 303-449-1343 starting Monday.
___________________
NOTE: As much as possible, I will attempt to keep updates concerning cancellations due to the novel coronavirus/COVID-19 current on the Web page. Anyone with further information is encouraged to contact this site at alex.peterm@gmail.com.

‘Subversive, seditious, bawdy, proto-feminist’ opera NOW CANCELED

Mozart’s Marriage of Figaro at CU has been canceled 

By Peter Alexander March 5 at 5 p.m.

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CU Production of Marriage of Figaro. Photo by Glenn Asakawa.

Conductor Nick Carthy says that Mozart’s The Marriage of Figaro is “the first great proto-feminist opera, and on top of that it’s subversive, it’s seditious, it’s bawdy, and Mozart wrote it!”

Widely considered one of the greatest operas ever written, The Marriage of Figaro will be presented by the University of Colorado Eklund Opera Program March 13-15. Carthy will conduct the student orchestra and cast, and Eklund Opera Program director Leigh Holman will be stage director.

Figaro, servant to the Count Almaviva, is about to marry Susanna, servant to the Countess. The Count, however, desires Susanna and wants to re-instate an old feudal right for masters to sleep with servants when they marry. The Countess and Susanna, and to a lesser extent Figaro, plot together to embarrass the Count and force him to abandon his plans.

There are many other twists involving minor characters, but those revolve around, and reinforce the main themes of, the plot: Not only do the servants thwart their master — a common basis for comedy in the 18th century — but the women foil the men. That is especially powerful, and is one of the things — with Mozart’s music — that elevates Figaro above other operas of its time.

Read more in Boulder Weekly.

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The Marriage of Figaro
By Mozart and Lorenzo DaPonte
CU Eklund Opera Program

7:30 p.m. Friday and Saturday, March 13 and 14
2 p.m. Sunday, March 15
Macky Auditorium

Tickets

 

A beloved staple of the holiday season in a new medium

Eklund Opera brings ‘It’s a Wonderful Life’ to the Macky stage

By Peter Alexander

Overtones_Glenn-AsakawaUniversity-of-Colorado-1024x768

Photo by Glenn Asakawa for the University of Colorado Eklund Opera Program

It’s a Wonderful Life, a new opera by composer Jake Heggie and librettist Gene Scheer, started its performance life with a workshop at CU Boulder in 2016, then went to its world premiere in Houston, followed by performances in Indiana and San Francisco, and now it returns to Boulder.

Based on the much loved film of the same title, the opera will be presented this weekend (Nov. 15–17) in a completely new production by the CU Eklund Opera Program. The student orchestra will be conducted by Nick Carthy. Leigh Holman, head of Eklund Opera, will direct the student cast.

“To take it home to Boulder is special, because we workshopped it there, and made so many artistic decisions in the process of creating it there,” Scheer says.

It’s a Wonderful Life was commissioned by the Houston Grand Opera, Indiana University and San Francisco Opera. Essentially the same production was used in all three locations. After Houston, Scheer and Heggie trimmed, streamlined and improved the opera in various ways. Eklund Opera will therefore present only the second physical production in the latest version of the opera.

The opera follows the basic story of the film, which tells of George Bailey’s despair and thoughts of suicide on Christmas Eve. He is rescued by an angel who shows him all the people he has touched in his life, and what his hometown of Bedford Falls would have been without him. The 1946 film, directed by Frank Capra, has become a beloved staple of the holiday season.

Read more in Boulder Weekly.

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It’s a Wonderful Life
An opera by Jake Heggie and Gene Scheer
CU Eklund Opera

7:30 p.m. Friday, Nov. 15 and Saturday, Nov. 16
2 p.m. Sunday, Nov. 17
Macky Auditorium

Tickets

 

CU’s Eklund Opera presents a Victorian-era ghost story

You’ll have to decide what really happens in ‘The Turn of the Screw’

By Peter Alexander April 18, 2019, at 1:30 p.m.

The next production of the University of Colorado Eklund Opera Program, Benjamin Britten’s TheTurn of the Screw, is a Victorian-era ghost story. Whether the ghosts are real or not, however, Eklund Opera director Leigh Holman won’t say.

Turn_of_Screw_PR14GA PRESS_v3

Photo for CU Presents by Glenn Asakawa/University of Colorado

“I want that to be part of the mystery of the piece,” Holman says. “As a stage director I usually stay away from ambiguity, but in this case, I’m not doing that. I want people to leave and have those discussions — was it real?”

Performances will be April 25-28 in the Imig Music Building’s intimate Music Theatre. A cast of graduate and undergraduate students will be accompanied by a 13-piece chamber orchestra of freelance professional musicians, conducted by Jeremy Reger.

Britten’s opera is based on a short story by Henry James, about a governess hired to care for two children living in a remote English country home. Strange things start to happen, beginning when the boy, Miles, is permanently dismissed from his school without clear explanation.

Then the governess starts seeing ghosts, who apparently are Peter Quint, a former servant in the household, and Miss Jessel, the previous governess. She believes the ghosts are trying to lure the children — Miles and his younger sister, Flora — into demonic activities. Whether they are real, or creations of her overheated imagination, is the issue Holman wants the audience to decide for themselves.

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The Turn of the Screw
An opera by Benjamin Britten
Eklund Opera Program, Leigh Holman, director
Jeremy Reger, music director

7:30 p.m. Thursday, April 25–Saturday, April 27
2 p.m. Sunday, April 28
Music Theater, CU Imig Music Building

Tickets

CU Presents’ 2019–20 season features Grammy winners and nominees

Kronos Quartet returns, Eklund Opera presents It’s a Wonderful Life

By Peter Alexander April 4 at 4:15 p.m.

macky.jpg.w560h420

CU Macky Auditorium

The coming season of CU Presents at Macky Auditorium will feature the return of the Kronos Quartet, not heard in Boulder since 2014; the first appearance here by A Far Cry string orchestra; and the combination return/first local performance of Jake Heggie’s and Gene Scheer’s opera It’s a Wonderful Life, workshopped at CU in June 2018 and now scheduled for a full production by CU’s Eklund Opera Program.

These and other music, dance and theater events have been announced as part of the 2019-20 season of CU Presents. The full schedule for the season is listed here; see a schedule of the music events below .

In addition to CU’s own Takacs Quartet in their annual series on campus, the Grammy winners on the schedule are Kronos Quartet and the Chick Corea trio. A Far Cry was nominated for Grammys in 2014 and 2018.

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A Far Cry sting orchestra. Photo by Yoon S. Byun.

Founded in Boston in 2007, A Far Cry is an adventurous string orchestra. They are a democratic, self-conducted ensemble in which decisions are made collectively and leadership rotates among the players—or “Criers,” as they like to call themselves. They were recently part of a commissioning project with pianist Simone Dinnerstein for Philp Glass’s Third Piano Concerto, which Dinnerstein played with the Boulder Philharmonic as part of the orchestra’s 2017–18 season.

A Far Cry will perform a new program for the tour that will bring them to Boulder on Feb. 8, 2020. Under the title “Memory,” the program will comprise works by Mozart, Tchaikovsky, Elgar and Arvo Pärt.

Kronos

Kronos Quartet. Photo by Jay Blakesberg.

Over 46 years, Kronos Quartet has been known for the innovative programming and presentation of music for string quartet, and especially new works. More than 900 works have been written for Kronos, by composers from all over the world. Their extensive discography, including more than 40 studio albums, has its own Wikipedia entry that also lists compilation albums, video albums, film soundtracks, and Kronos’ contributions with other artists ranging from Linda Ronstadt to Nine Inch Nails.

Kronos has been nominated for a Grammy 11 times, and won twice. In recognition of the 2014 centennial of World War I, in 2014 they presented the film Beyond Zero in Macky. A reconstruction by Bill Morrison of film from World War I, Beyond Zero featured a score by Aleksandra Vrebalov played live by Kronos. For their performance at Macky in March 19, 2020, they will present a new program, “Music for Change: The 60s,” including a celebration of Pete Seeger’s music and a work inspired by Martin Luther King, Jr.

Its-A-Wonderful-Life-Angels.Houston

Houston Grand Opera world premiere production of It’s a Wonderful Life

Heggie and Scheer’s It’s a Wonderful Life was commissioned by the Houston Grand Opera, with the San Francisco Opera and the Jacobs School of Music at Indiana University. The opera is based on the 1946 film of the same name, directed by Frank Capra and starring James Stewart, Donna Reed, Lionel Barrymore and Henry Travers.

The original production premiered in Houston Dec. 2, 2016, with subsequent performances in San Francisco and Bloomington, Ind. Prior to the premiere, the opera received workshop performances in Boulder in June 2016, through the Eklund Opera’s New Opera Workshop (CU NOW).

The Eklund Opera will present an all-new production of the opera Nov. 15–17, 2019, in Macky Auditorium.

Music events from CU Presents’ 2019–20 season are listed below:

# # # # #

Artist Series at Macky Auditorium

Music events

Chick Corea Trilogy
with Christian McBride and Brian Blade
7:30 p.m. Wednesday, Oct. 9, 2019,
Bassist Christian McBride and drummer Brian Blade join Chorea for an evening of Corea classics and jazz standards.

NU_KBM02829_KB-Mpofu-1-X4

Nobuntu

Nobuntu
7:30 p.m. Wednesday, Oct. 30
“Nobuntu”—an expression meaning feminine familial love, humility and kindness—is the name of a female a cappella quintet from Zimbabwe that performs traditional Zimbabwean songs, Afro jazz and gospel.

Pierre-Laurent Aimard, piano
7:30 p.m. Tuesday, Nov. 19

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Natalie McMaster and Donnell Leahy

Natalie MacMaster and Donnell Leahy
“A Celtic Family Christmas”
7:30 p.m. Tuesday, Dec. 17

A Far Cry string orchestra
“Memory”
Music by Mozart, Tchaikovsky, Arvo Pärt and Elgar
7:30 p.m. Saturday, Feb. 8, 2020

Kronos Quartet
“Music for Change: The 60s, The Years That Changed America”
7:30 p.m. Thursday, March 19, 2020

Holiday Festival

Dec. 6-8, 2019
CU Boulder’s Holiday tradition featuring student choirs, bands and orchestras—along with faculty performers—in a concert of holiday favorites

Takács Quartet at Grusin Music Hall

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Takács Quartet

Chamber Series:
4 p.m. Sundays Sept. 8, Oct. 27, Jan. 12, March 8, May 3
Encore Series:
7:30 p.m. Mondays Sept. 9, Oct. 28, Jan. 13, March 9, May 4

4 p.m. Sunday, Nov. 10, and 7:30 p.m. Monday, Nov. 11: The Takacs Quartet presents the Tesla Quartet

Eklund Opera Program

It’s a Wonderful Life
Music by Jake Heggie; Libretto by Gene Scheer
Nov. 15-17 at Macky Auditorium

The Marriage of Figaro
Music by Wolfgang Amadeus Mozart; Libretto by Lorenzo Da Ponte
March 13-15 at Macky Auditorium

Béatrice et Bénédict
Music and libretto by Hector Berlioz, based on Shakespeare’s Much Ado About Nothing
April 23-26 at the Music Theatre

# # # # #

Season tickets for these and other events presented by CU Presents are now on sale and my be purchased here. The complete listing of the CU Presents 2019–20 season, including dance performances and productions of the CU Department of Theater and Dance, may be found here.

 

 

Eklund Opera will present Tchaikovsky’s Eugene Onegin in Russian with English titles

‘Wonderfully Romantic piece’ is musically appealing, educationally valuable

By Peter Alexander March 14 at 1:22 p.m.

The University of Colorado Eklund Opera Program is doing something it has never done before: perform a full opera in Russian, with English surtitles.

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Publicity still for CU Opera production of Eguene Onegin. (Photo by Glenn Asakawa/University of Colorado)

The opera is Tchaikovsky’s Eugene Onegin, one of the most well known and popular Russian operas, in and outside of Russia. Performances will be March 15–17 in Macky Auditorium. The cast of CU students will be directed by Leigh Holman, director of the Eklund Opera Program, and conducted by Nicholas Carthy, the program’s music director.

Eugene Onegin is about the unrequited love between Onegin, a bored ne’er-do-well aristocrat, and Tatyana, a naive country girl whose sister is engaged to Onegin’s friend, Lensky. Tatyana impulsively writes a letter declaring her love to Onegin, who brushes her aside.

Soon after, Onegin kills Lensky in an impetuous duel that neither man wants, and then wanders the world for several years in despair. Returning to St. Petersburg, he realizes he is in love with Tatyana, now married to an older nobleman. When he declares his love, Onegin finds the shoe is on the other foot, as Tatyana turns him aside out of loyalty to her husband.

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Nicholas Carthy

Carthy has wanted to conduct Eugene Onegin since he coached singers in a production at the Salzburg Festival 30 year ago. “I thought, ‘I really need to do this,’ and I’ve been waiting ever since,” he says.

Because it requires bigger voices, Onegin is not an opera that a university company can always perform. This year the stars aligned and the singers were available for Onegin at CU. Holman called Carthy while he was on sabbatical last year to say she thought this would be the year.

“We’re just excited to have the big voices now that can do [Onegin]”, she says.

Read more in Boulder Weekly.

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EugeneOnejin-X4 copyEugene Onegin by Tchaikovsky
CU Eklund Opera Program
Leigh Holman, director and Nicholas Carthy, conductor
Sets designed by Peter Dean Beck, costumes by Tom Robbins

7:30 p.m. Friday and Saturday, March 15 and 16
2 p.m. March 17
Macky Auditorium

Sung in Russian with English titles

Tickets 

 

 

‘West Side Story’: 61 years old and still as relevant as today’s headlines

CU Eklund Opera presents Bernstein’s masterpiece

By Peter Alexander Oct. 25 at 12:15 p.m.

Leonard Bernstein’s West Side Story opened on Broadway just over 61 years ago — Sept. 26, 1957 — but for Leigh Holman, the story does not get old.

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West Side Story cast members Christine Honein as Maria and Patrick Bessenbecher as Tony. Photo by Glenn Asakawa/University of Colorado.

Holman is the director of the Eklund Opera Program at the CU College of Music, which will be presenting Bernstein’s masterpiece Friday through Sunday, Oct. 26–28. The cast of CU students, freshman though graduate students, will be stage-directed by Holman. Guest conductor Philip Hesketh will lead the singers and student orchestra.

The show is a transplanted version of Romeo and Juliet, with New York street gangs replacing the rival families. The conflict is between immigrants and newer immigrants, the Jets and the Sharks, a white gang and a Puerto Rican gang.

West Side Story has a theme that’s important to talk about right now,” Holman says. “It’s a story about people who are immigrants, and nothing could be more relevant. When someone moves into our area, is in the workplace or in school with us, people who don’t look like us, what sort of fear ignites in us and how do we act upon that?

“To me it sounds like a story from 2018.”

Read more in Boulder Weekly.

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Art by Janalee Robison for CU Presents

West Side Story
By Leonard Bernstein
Book by Arthur Laurents; Lyrics by Stephen Sondheim
Eklund Opera Theater

7:30 pm. Friday Oct. 26 and Sunday, Oct. 27
2 p.m. Sunday, Oct. 28
Macky Auditorium

Tickets