DieFledermaus.10212316.PRINT

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EKLUNDOPERAPROGRAM|DieFledermaus|Oct.21-23,2016
| 303-492-8008 | cupresents.org | Get Soci@cupresents |
Die FledermausThe Bat
Johann Strauss, Jr.
Original libretto by Carl Haffner and Richard Genée
Neila Marie Wisniewski Getz
Mary Kettlewell
Joshua DeVane
Charles Daniel
Nadya Hill Sophie Malia LedinghamMichael HoffmanJesse Enderle
Claire McCahan Rebecca Ramsey Daniel ThompsonSkyler SchlenkerLane Micheal Melott
Alicia BakerChristina Adams Jacob Baker Zachary BargerMichael Aniolek
Bud Coleman
STARRING
Maureen BaileyKarl Allen Christian Arguello Patrick Bessenbacher Sean Butcher
Julieta Garcia Rachel GarstangJade Espina Elizabeth GangwareSam Elzinga
Winona Martin Alyssa Muir Delaney PatrickElizabeth Noble Paul Reynerson
featuring
With the Eklund Opera Program Chorus
Jeff Dixon
Chorus Master
Technical DirectorCostume DesignerSet and Lighting DesignerStage DirectorMusic Director and Conductor
Ron MuellerTom RobbinsPeter Dean BeckLeigh HolmanNicholas Carthy
Albert Hand
Taylor Graham Hubert Chan LokyinGarion Hall Tyler Hansen
Emma Vawter Sophia ZervasCaroline Vickstrom
Tom Riis
Special Guest Appearances by
Phil DiStefano Paul Eklund Ron Stewart
Production will run approximately 2 hours and 20 minutes
including one 20-minute intermission between Acts I and II
Before performance begins, please switch off cell phones and other electronic devices
Assistant Technical Director
Jeff Rusnak
Stage Manager
Karen T. Federing
Assistant Stage Manager
Katherine Shay
Assistant Stage Manager
Courtney Williams
Carpenters
Nick Kargel Dan SjaastadTrey OlmesdahlCooper Braun-EnosRobin Reid Ben Smith
Asst. Scenic Artist
Caitlin Goldstein
Wig Master and Stylist
Tom Robbins
Prop Master
Tom Robbins
Scenic Artists
Emily Pritchett Jenn Melcher
Makeup Designer
Jeannete Hickok
Costume and Hair Assistants
Yvonne M. Hines Whitney WolaninAlyssa MuirSarah Opstad
Supertitles provided by
Malcolm Ulbrick
Supertitles Operator
Malcolm Ulbrick
Asst. Director
Gillian Nogeire
Music Preparation
Jeremy Reger
Rehearsal Pianists
Emily Alley Nathália KatoCecilia Kao
Dance Captain
Lane Melott
Production Assistant
Chris Martin
Spot Operator
Chris Evans
Deck
Jennifer Mecher
Sound Engineer
Dan Sjaastad
Pit Manager
Sean Kuncis
Master Electrician
Cooper Braun-Enos
Asst. Technical Director
Rhett Snyder
COSTUMES SUPPLIED BY HARLEQUIN COSTUME CO. WINNIPEG, CANADA
Special thanks to Janalee Robison for providing promotional materials (janaleerobison.com)
and to Event Production Services and Performance Audio for providing the LED supertitle screen.
Join us for Twittermission! Tag us in your post or selfie and you could win
two tickets to any CU Presents performance.
@cupresents

C-2 | Get Soci@cupresents | cupresents.org | 303-492-8008 |
Note from Stage Director Leigh Holman
Director of the Eklund Opera Program
Dancing, singing, dialogue, anachronisms and
belly-laughs describe our production of Die
Fledermaus! With a large cast of singers, musicians
and special guests, we set out to make this a
special evening—or perhaps afternoon—for you.
The nostalgia of Strauss’s waltzes, ensembles,
arias, beautiful gowns and beautiful people remain
the heart of the piece. Nostalgia creates warmth,
comfort and that fuzzy feeling that takes us away
from the horrible news, political squabbles and
crises of the day. How delightful it is to reach back
to some of the most lovely of comedies, such as
Mozart’s “The Marriage of Figaro,” Rossini’s “The
Barber of Seville,” the operettas of Sullivan and
Lehar, and the jewel we present to you—“Die
Fledermaus.”
In my research area of new American opera,
one of the topics that tends to arise over and over
at conferences is the obvious lack of comedic
operatic works in today’s offerings. While we have
a plethora of wonderfully crafted tragedies in our
modern age, the opera industry is pleading with
leading living composers to write comedies. The
truth? A comedy is difficult to craft! Mixing beautiful
melodies with comic timing and pacing requires
an expertise difficult to discover. True comedy is
an art form—not only in its creation but also in
its interpretation and presentation. Our students
have risen to the occasion in studying the style
of comic operetta, physical comedy and dialogue
and the ever-heralded (and rightfully so) comedic
timing. The process of rehearsing this piece from
the first musical run-through to the last flourish
of the waltz has been an absolute delight for this
director. In a day and age when belly laughs are
sorely needed, the students, artists and crew offer
gratitude for the joyful hours they’ve spent working
on this piece. We hope you experience the same
nostalgia, gratitude and good old fashioned belly
laughs while you’re here.
To champagne!
Note from Nicholas Carthy
Music Director and Conductor
Words did not come naturally to Johann Strauss.
Vienna’s most celebrated 19th century composer,
who could turn out waltzes, polkas and marches
with astonishing facility, found it tiresome and
restrictive to set words. The quality of the text
did not seem to matter to him at all, and some of
his most celebrated operetta finales were written
before he had even read the libretto. Even his most
famous work, the Blue Danube waltz, which was
originally composed for chorus and orchestra, is
a setting of the worst form of cynical Viennese
doggerel. These were not the qualities one would
expect in a stage composer.
In the 1860s, when Strauss was being
celebrated worldwide for his dance music, the
most popular operetta composer in Vienna was
actually a Frenchman. Jacques Offenbach (born
in Cologne, but Parisian by choice) introduced
Viennese audiences to the capers of various
Greek figures in such works as “La belle Hélène”
and “Orpheus in the Underworld,” and Viennese
theatre directors were kept very busy, and lived
extremely well, off the proceeds.
Always on the lookout for new ideas, and new
ways to fill their pockets, the impresarios spent a
lot of time trying to persuade Johann Strauss to
compose for the theatre. They even got Offenbach
himself to put feelers out. Strauss at first demurred,
but the Viennese are nothing if not insistent—and
certainly not averse to underhanded tricks. So, in
1870, much to Strauss’s surprise, a newspaper
report appeared to the effect that the score of a
comic opera was sitting, finished on the desk of
the master, waiting to be performed. The theatre
director Max Steiner, in league with Strauss’s
wife Jetty (who had long tried to persuade her

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husband to dethrone Offenbach) continued to
spread the rumor around that his theatre would
soon be producing a work for the stage by none
other than the Waltz King himself. Eventually
Strauss capitulated, although he very soon wished
he hadn’t. His first two attempts were disastrous:
The first was marred by a spectacular cat fight
between two sopranos, both insisting that they be
given the honor of singing the lead role; the second,
suffering from a truly execrable libretto, was initially
successful, but eventually the public’s irritation at
the quality of the text forced it to be withdrawn.
Then in 1871 everything changed. The Second
Empire in France collapsed following the disastrous
Franco-Prussian War, and Offenbach was suddenly
persona non grata in Vienna. The path was now
free for Strauss to stamp his own personality on
Viennese operetta. It still took him another two
attempts to get it right, but in 1874 came the piece
that was to establish him once and for all in the
world of operetta: “Die Fledermaus.” At last Strauss
had a libretto that was worthy of him, even though
he probably didn’t realize it. What he did realize,
though, was that the story was centered on a ball,
and if there was one thing that he really did know
how to do, it was to write music for balls.

Orchestra
Violin 1
Karen Van Acker
Tracy Viator
Matthew Farquharson
Jonathan Galle
Ryan Foley
Esther Hou
Paul Kim
Maggie Brady
Violin 2
Ryan Jacobsen
Priscilla Arasaki
Elizabeth Potter
Lindey Hoak
Crystal Schenckenberger
Kiana Kendall
Madeline Schneider
Viola
Dragana Loncar
Joey Fischer
Allyson Stibbards
Madeline Noles
Cello
Will Spengler
Haley Slaugh
Christine Sears
Ernie Carbajal
Bass
Sélyne Tibbetts-Pagán
Jesse Fischer
Flute
Colleen White
Melissa Merkel
Clarinet
Colby Bond
Emily Wangler
Oboe
Heather Macdonald
Andrew Iannuccillo
Bassoon
Gyunsun Im
Michelle Chen
Horn
Jordan Miller
Sarah Carrico
Megan Hurley
Erika Hollister
Trumpet
Brandon Norton
Melinda Ho
Trombone
Tyler Bentley
Megan Dudek
Josh McCann
Timpani
Ben Bresler
Percussion
Alberto Ortega
Tino Tsaos
Harp
Jenna Allen
Cast
Rosalinde
Adele
Prince Orlofsky
Ida
Alfred
Eisenstein
Dr. Falke
Frank
Dr. Blind
Frosch
Ivan
Friday/Sunday
Neila Marie Wisniewski Getz
Alicia Baker
Claire McCahan
Sophie Malia Ledingham
Michael Hoffman
Joshua DeVane
Jesse Enderle
Skyler Schlenker
Michael Aniolek
Bud Coleman
Jeff Dixon
Saturday
Mary Kettlewell
Nadya Hill
Christina Adams
Rebecca Ramsey
Jacob Baker
Charles Daniel
Zachary Barger
Daniel Thompson
Lane Melott
Bud Coleman
Jeff Dixon
Rosalinde cover: Maureen Bailey Dr. Falke cover: Skyler Schlenker
The Chorus
Taylor Graham, Jade Espina, Elizabeth Gangware, Elizabeth Noble, Christian Arguello,
Patrick Bessenbacher, Tyler Hansen, Alyssa Muir, Sophia Zervas, Julieta Garcia,
Maureen Bailey, Emma Vawter, Winona Martin, Rachel Garstang, Delaney Patrick,
Hubert Chan Lokyin, Sam Elzinga, Paul Reynerson, Karl Allen,
Sean Butcher, Caroline Vickstrom
Phil DiStefano, Paul Eklund, Ron Stewart, Tom Riis and Albert Hand
With Special Guests
OriginalartworkfortheEklundOpera
createdbyJanaleeRobison

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Act I Vienna, New Year’s Eve, 1899 Outside the
Eisensteins’ apartment, the tenor Alfred serenades his
old flame Rosalinde, who is now married to Gabriel
von Eisenstein. Adele, Rosalinde’s chambermaid,
wonders how to get the night off to attend a
glamorous New Year’s Eve ball to which her sister
has invited her. She tells her mistress she must visit a
sick aunt, but Rosalinde refuses to let her go. Alfred
appears and declares his love to Rosalinde, who
resists him until he begins to sing. Hearing someone
coming, she sends Alfred away, but not before he
has convinced her to let him return later. Eisenstein
and his lawyer, Blind, arrive from a session in court:
Eisenstein has been sentenced to eight days in jail
for striking a police officer and must begin his term
that very night. He furiously dismisses Blind. His
friend Falke urges Eisenstein to delay going to jail
until morning and instead join him at the ball, which
is being given by the wealthy Prince Orlofsky. Falke
tells Eisenstein to bring along his infamous pocket
watch to charm the ladies. While Eisenstein changes,
Falke invites Rosalinde to the ball as well, telling her
that if she comes in disguise, she’ll be able to observe
her husband flirting with other women. Rosalinde at
first doesn’t like the idea but changes her mind when
Eisenstein reappears in evening dress. She joins
Adele in a bittersweet farewell as her husband heads
off to “prison.” Angry at Eisenstein’s deception, she
then tells Adele to go see her “aunt” and receives
the ardent Alfred. Their rendezvous is interrupted by
the prison warden Frank, who has come to arrest
Eisenstein. Rosalinde persuades Alfred to preserve
her good name by posing as her husband, and Frank
carts Alfred off to jail.
Act II In the ballroom of Prince Orlofsky’s villa, the
guests gossip about their host, who has a habit of
paying someone to try to make him laugh—usually
in vain. Orlofsky doubts that Falke’s promised
evening of entertainment will brighten his spirits, but
proclaims his guests should behave however they
want and do anything they like. Adele arrives—to the
surprise of her sister Ida, a dancer in a hit musical
show, who claims she never invited her. Ida worries
Adele isn’t classy enough to attend the ball, so they
decide to present her as a Russian actress named
Olga. Eisenstein enters, posing as a Frenchman, per
Falke’s instructions. He immediately identifies Adele
as his wife’s maid, but she laughs him off. Frank is
also posing as a Frenchman, and he and Eisenstein
become fast friends. Frank is so smitten with Ida and
“Olga” that he pretends to be a theatrical producer
to impress them. Finally Rosalinde arrives, disguised
as a Hungarian countess. Angry to spot her husband
flirting with her maid, she sings an impassioned ode
to her betrayed homeland. When a smitten Eisenstein
starts flirting with her, she manages to steal his pocket
watch. Midnight is approaching, and Falke entertains
the guests with the story of how he earned the
nickname of Dr. Fledermaus: one drunken evening,
when he was dressed as a bat for a costume ball,
his best friend Eisenstein played a practical joke on
him that made him the laughingstock of Vienna. The
crowd toasts drink, love, and brotherhood until the
stroke of midnight, when the new century begins. The
guests dance through the night. As the clock strikes
six, Eisenstein, whose attempts to retrieve his watch
from Rosalinde have failed, rushes off to jail.
Synopsis
Courtesy of the Metropolitan Opera
Act III Frosch the jailer is vexed by the late arrival of his boss, Frank, and by the nonstop singing of Alfred
in cell number 12. Frank finally appears, tipsy and enraptured by memories of his magical evening posing
as an impresario. Ida and Adele arrive, per Falke’s instructions. Adele hopes Frank might further her stage
aspirations. Frank sends them off and then admits Eisenstein, who says he has come to serve his sentence.
He is surprised to learn his cell is already occupied by a man who claims to be him and who was found in his
apartment with Rosalinde. Blind arrives, claiming he was summoned by the man in cell 12 to handle a case of
false arrest. Determined to get to the bottom of the matter, Eisenstein snatches Blind’s cloak, glasses, and wig
to disguise himself as the lawyer and confront the impostor. At that moment, Rosalinde rushes in. She tries to
secure Alfred’s release and asks “Blind” to press divorce charges against her errant husband, but is offended
when the “lawyer” seems to take Eisenstein’s side. Dropping his disguise, Eisenstein accuses his wife of
promiscuity, at which point Rosalinde produces his watch. Both lament the impasse at which they’ve arrived,
admitting that divorce would be a shame, since they really do love each other. Falke arrives to gloat over the
success of his plan—only to find the couple falling into each other’s arms and to discover Adele, Frank, and
Frosch happily embarking on new careers. As Falke bemoans that all his efforts were in vain and his life is a
failure, Orlofsky arrives with his guests in tow just in time to hear the story—and breaks into hysterical laughter.
All sing a final paean to the joys of champagne.

Charles Daniel Joshua DeVane Neila Marie
Wisniewski Getz
Mary Kettlewell

Christina A. Adams Michael Aniolek Alicia Baker Jacob Baker Zachary Barger
Jesse Enderle Nadya Hill Michael Hoffman Sophie Ledingham
Claire McCahan Lane Melott Rebecca Ramsey Skyler Schlenker Daniel Thompson
Maureen Bailey Bud Coleman Jeff Dixon

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The Company
Christina G. Adams—Prince Orlofsky
This is Adams’ fifth production with Eklund Opera.
She has previously been seen at CU as Mrs. Bailey in
Jake Heggie’s “It’s a Wonderful Life,” Mrs. Splinters in
“The Tender Land,” Blanche de la Force in Poulenc’s
“Dialogues of the Carmelites,” the title role in Rossini’s
“La Cenerentola,” Ottavia in “L’Incoronazione
di Poppea” and Octavian in scenes from “Der
Rosenkavalier.” She was also the resident mezzo
soprano in the 2015 Composer Fellows Initiative
(Eklund Opera) and performed with the CU Wind
Ensemble as the mezzo soloist in Stravinsky’s Mass.
Her other credits include Elizabeth Proctor in Robert
Ward’s “The Crucible,” Dorabella in “Così fan tutte”
and Frou-Frou in “The Merry Widow” (University of
Missouri), the title role in Offenbach’s “La Périchole”
(Franco-American Vocal Academy) and Vera Boronel
in Menotti’s “The Consul” (William Jewell College). In
2014, she received an Encouragement Award from the
Metropolitan Opera National Council Auditions and
was the winner of the Emerging Artists’ Competition at
the University of Missouri, where she earned Bachelor
of Arts in voice and English. She is currently pursuing
a master’s degree in vocal performance as a student
of Jennifer Bird.
Michael Aniolek—Dr. Blind
This is Aniolek’s fourth production with Eklund Opera.
Past credits include Le Chevailier in “Dialogues of
the Carmelites.” He has also appeared as Nathaniel
in “Les contes d’Hoffmann” (Opera in the Ozarks)
and Donald in “Gallantry” (Boston University Opera
Workshop). He is a second year master’s degree
candidate and is a student of tenor Matthew Chellis.
Maureen Bailey—Rosalinde (Cover)
With an undergraduate background in horn
performance and economics, soprano Maureen Bailey
begins her first year as a master’s student in vocal
performance and pedagogy as a student of Abigail
Nims. She recently participated in the workshop of
Jake Heggie and Gene Scheer’s “It’s A Wonderful
Life” during CU NOW and looks forward to being a
part of many future productions at CU Boulder.
Alicia Baker—Adele
This is Baker’s fourth production with Eklund Opera
after appearing as Laurie in Copland’s “The Tender
Land,” Sister Constance in Poulenc’s “Dialogues
of the Carmelites” and in the CU Boulder winter
scenes program. Additional past roles include
Queen of the Night in “Die Zauberflöte” (Portland
Summer Opera Workshop) and Fiordiligi in “Così fan
tutte” (Astoria Music Festival). Baker received three
bachelor of music degrees in vocal performance,
piano performance and choral music education
from Oregon State University in 2009. She is also a
world-renowned accordion player, having won many
international competitions. Baker recently appeared
in the Colorado Shakespeare Festival’s production of
“The Comedy of Errors” as the strolling accordionist.
She is currently pursuing a master’s degree in vocal
performance and pedagogy as a student of Jennifer
Bird.
Jacob Baker—Alfredo
This is Baker’s first production with Eklund Opera.
Baker was previously in the chorus with Wisconsin’s
Florentine Opera Company for their 2015-16 season.
He graduated from UW-Milwaukee in 2015, where he
received a BFA in voice performance. He is currently
pursuing his master’s degree in vocal performance as
a student of Matthew Chellis.
Zachary Barger—Dr. Falke
This is Barger’s tenth production with Eklund
Opera. Past credits include Arnalta and Venere in
“L’incoronazione di Poppea” and Mr. Jenks in “The
Tender Land.” His chorus credits include “Dialogues
of the Carmelites,” “La Cenerentola,” “Così fan tutte”
and “The Pirates of Penzance.” He sang two roles
in the CU NOW production of “A Song for Susan
Smith” and has performed in scenes from Rogers and
Hammerstein’s “Cinderella” and Jake Heggie’s “Three
Decembers.” Other credits include playing Hanschen
Rilow in “Spring Awakening” and singing as a soloist
in “Songs for a New World” (CU Boulder Theatre &
Dance). He is a senior studying vocal performance
under Patrick Mason and holds a minor in creative
writing.
Bud Coleman—Frosch
Coleman is chair of CU Boulder’s Department of
Theatre & Dance and is the Roe Green Professor
of Theatre. CU directing and choreographing
credits include the 2015 and 2016 CU New Opera
Workshops, “Rent,” “Seussical,” “14” (KC/ACTF
Regional Selection), “Pippin,” “Wonderful Town,” “A
Funny Thing Happened on the Way to the Forum,” “Six
Degrees of Separation,” “A Grand Night for Singing,”
“Hair,” “Lysistrata,” and “Dames at Sea.” Professional
credits include performing with the Colorado
Shakespeare Festival, directing/choreographing “The
Producers” and “Little Shop of Horrors” for the Mount
Baker Theatre (Bellingham, Washington), writing
and performing a one-man show “An Evening’s
Intercourse With Natasha Notgoudenuff” (Bailiwick
Theatre, Chicago) and directing and choreographing
“The Mikado,” “Angry Housewives,” “Chicago,” “The
Mystery of Edwin Drood” and “Into the Woods” in

Austin, Texas. He received his PhD in theatre history
and criticism at the University of Texas-Austin, his MFA
in theatre directing from the University of Utah and his
BFA in theatre arts from Texas Christian University. A
former dancer with Les Ballets Trockadero de Monte
Carlo, Fort Worth Ballet and Kinesis, Coleman is the
co-author of “Back Stage Pass” and the co-editor of
“Unsung Contributors,” among other publications.
Charles Daniel—Eisenstein
Daniel’sEklundOperarolesincludeCarlisleHenderson
in “A Song for Susan Smith,” Lucano and Liberto in
“L’incoronazione di Poppea,” Major General Stanley
in “The Pirates of Penzance,” 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)
and First Priest in “The Magic Flute” (UAB). Daniel is a
master’s degree candidate in voice performance and
a scholarship recipient at the University of Colorado
Boulder. His voice teachers are Patrick Mason and
Matthew Chellis.
Joshua DeVane—Eisenstein
DeVane returns for his second season with Eklund
Opera, where his past credits include the Marquis
de la Force and the Jailer in Poulenc’s “Dialogues
of the Carmelites” and Dandini in Rossini’s “La
Cenerentola.” A specialist in contemporary opera and
art song literature, DeVane also appeared as David
Smith in CU New Opera Workshop’s 2015 production
of Zachary Redler’s “A Song for Susan Smith”
and as Mr. Gowers and Mr. Potter in CU NOW’s
2016 workshop production of Jake Heggie’s “It’s a
Wonderful Life.” His recent performances outside
of the Eklund Opera program include the role of the
pilot in Rachel Portman’s “The Little Prince” at Opera
Fayetteville and Eisenstein with Georgia Southern
Opera.
Jeff Dixon—Ivan
This is Dixon’s first production with Eklund Opera.
As a member of the Opera Colorado chorus, he
sang in the choruses “Florencia en el Amazonas,”
“Il Trovatore,” “Roméo et Juliette” and most recently
in the world premiere of Lori Laitman’s “The Scarlet
Letter.” Previous shows include “Tosca” and “La
Traviata” (Opera Fort Collins) and “Der Freischütz,”
“Manon,” “Cavalleria Rusticana” and “Pagliacci”
(Opera Classica Europa). With the same company,
Dixon made his debut as chorus master with his
preparation of the choruses for Verdi’s “Otello,” with
a performance at the Château de Buc in Versailles,
France. This past summer, he was on the production
staff of the Aspen Opera Center. Dixon received
his bachelor’s degree in music education from
the University of Northern Colorado in 2011 and is
currently in the second year of his master’s degree in
choral conducting under the direction of Drs. Gregory
Gentry and Andrea Ramsey.
Jesse Enderle—Falke
This is Enderle’s first production with Eklund Opera.
He is a first year student in the professional certificate
program in opera and solo vocal performance and is
a student of Patrick Mason.
Neila Marie Wisniewski Getz—Rosalinde
This is Getz’s third production with Eklund Opera, after
appearing as the New Prioress in Poulenc’s “Dialogues
of the Carmelites” and as a spirited townsperson in
Copland’s “The Tender Land.” A Montana native, Getz
is enjoying her second year at CU Boulder, pursuing
a master’s degree in vocal performance. She received
her BM in vocal performance from the University
of Montana in 2013. Her most recent performance
credit is with CU NOW, where she premiered the
role of Clara in Jake Heggie’s “It’s A Wonderful Life.”
Notable other credits include Fiordiligi in “Così fan
tutte” (University of Montana), Rosalinde in “Die
Fledermaus” (University of Montana) and Violetta in
Verdi’s “La Traviata” (Fidenza, Italy). Getz would like
thank her mother, father and fairy godparents for all
that they do. Getz is a student of Jennifer Bird.
Nadya Hill—Adele
This is Hill’s fourth production with Eklund Opera
after appearing as Despina in Mozart’s “Così fan
tutte,” understudying Poppea in Monteverdi’s
“L’incoronazione di Poppea” and participating in the
Eklund Opera winter scenes program. Additional past
roles include the Duchess of Plaza Toro in Gilbert
and Sullivan’s “Gondoliers” with the University of
Michigan’s Gilbert and Sullivan Society and Second
Lady in Mozart’s “Die Zauberflöte” with the University
of Michigan’s Opera Theater. Hill received two
bachelor’s degrees in vocal performance and violin
performance from the University of Michigan in 2011.
She is currently pursuing a master’s degree in vocal
performance as a student of Jennifer Bird.
Michael Hoffman—Alfredo
Hoffman is currently in his third year in the MM vocal
performance program at CU Boulder following the
completion of his BM in vocal performance at the
University of Minnesota-Twin Cities. Hoffman has
appeared in numerous performances since moving to
Colorado, including Martin in Copland’s “The Tender
Land” (Eklund Opera, 2016), Ferrando in Mozart’s
“Così fan tutte” (Eklund Opera, 2015), Spoletta in
Puccini’s “Tosca” (Colorado Symphony, 2015) and
Jacey Squires in Willson’s “The Music Man” (Colorado

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Symphony, 2015). In Fall 2015, Hoffman was a finalist
in the Bruce Ekstrand Memorial Graduate Student
Performance Competition. This November, Hoffman
will be a representative of the CU Boulder College
of Music at Carnegie Hall. Hoffman is a student of
Patrick Mason and Matthew Chellis.
Mary Kettlewell—Rosalinde
This is Kettlewell’s first production with Eklund Opera.
In the past she has performed as Susanna in Mozart’s
“Le nozze di Figaro” and Lauretta in Puccini’s “Gianni
Schicchi” (Show-Me Opera). In 2015, she attended
Opera in the Ozarks in Eureka Springs, Arkansas as
a Studio Artist. This past summer, she performed
the role of Adele in “Die Fledermaus” (Missouri
Symphony Society) and attended Opera Neo in San
Diego, California as a studio artist. This past July, she
won first place in the senior women’s division of the
national level of the National Association of Teachers
of Singing vocal competition. She graduated from
the University of Missouri-Columbia with a bachelor’s
degree in music as well as a bachelor’s degree in
psychology. She is currently pursuing a master’s
degree in vocal performance and is a student of
Jennifer Bird.
Sophia Ledingham—Ida
Ledingham is a senior studying vocal performance.
She has participated in several productions with
Eklund Opera, including “Dialogues of the Carmelites,”
“Così fan tutte” and others. Most recently, she was
involved in the CU NOW workshop with Jake Heggie,
performing his newest opera, “It’s a Wonderful Life.”
She plans to continue pursuing a vocal career. She is
studying with Jennifer Bird.
Claire McCahan—Prince Orlofsky
This is McCahan’s first production with Eklund
Opera. Past roles include Cousin Hebe in “H.M.S.
Pinafore,” La Maestra delle Novizie in “Suor Angelica”
(Intermountain Opera) and Antonia in “Man of La
Mancha” (Montana Shakespeare in the Parks). She
received her bachelor’s degree in vocal performance
from the University of New Hampshire in 2011, and
her performance credits there include Pamina in “Die
Zauberflöte” and Der Trommler in “Der Kaiser von
Atlantis.” She is currently pursuing a master’s degree
in vocal performance as a student of Abigail Nims.
Lane Melott—Dr. Blind, Dance Captain
Melott’s Eklund Opera credits include Hal in “Side
by Side by Sondheim,” Liberto and Valletto in
“L’incoronazione di Poppea,” L’Aumôir in “Dialogues
of the Carmelites” and various roles in the Composer
Fellows Initiative programs in 2015 and 2016. Melott
is a student of Jennifer Bird and Matthew Chellis.
Rebecca Ramsey—Ida
This is Ramsey’s third production with Eklund Opera.
Last semester, she performed the role of Sister Gerald
in “Dialogues of the Carmelites,” as well as Beth in
“The Tender Land.” Ramsey is a junior pursuing a
bachelor’s degree in vocal performance. She is a
student of Abigail Nims.
Skyler Schlenker - Frank, Falke Cover
Schlenker is a first year master’s degree candidate
in the Eklund Opera program, but he has been
a part of the CU Opera family for two years as an
undergraduate. This is Schlenker’s fourth production
with Eklund Opera and his fifth with CU Presents after
appearing as Top in Copland’s “The Tender Land” and
in the Theater and Dance department’s production of
“The Fiddler on the Roof” as Perchik. Additional past
roles include Seneca in “L’incoronazione di Poppea,”
Samuel and Pirate King cover in “The Pirates of
Penzance” and Kromov in “The Merry Widow”
(Brevard Music Center). Schlenker began his voice
training in 2013, first at Ithaca College, then at the
Janiec Opera Company at the Brevard Music Center.
There he premiered several roles in Michael Ching’s
new opera, “Speed Dating, Tonight!”
Daniel Thompson—Frank
This is Thompson’s sixth production with Eklund
Opera. He recently appeared in “The Tender Land”
as Mr. Jenks and was a winner of the Anderson Vocal
Competition in Spring 2016. Thompson is currently
pursuing a BA in vocal performance and a BS in
computer science. He is a student of Matthew Chellis.

Technical and Production Staff
Peter Dean Beck—Set and Lighting Designer
Peter has designed scenery and lighting for Eklund
Opera for 23 seasons and for more than 300
productions around North America. Among his
opera credits are “Falstaff,” “Turandot,” “Manon,”
“Don Giovanni,” “Madama Butterfly,” “Hansel and
Gretel,” “A Midsummer Night’s Dream” and “Roméo
et Juliétte” for such companies as Atlanta Opera,
Florida Grand Opera, Glimmerglass Opera, Virginia
Opera and Chautauqua Opera. He has designed
productions of “Andrea Chenier,” “The Italian Girl
in Algiers,” “Macbeth,” “Elektra” and “Tristan and
Isolde” for Hawaii Opera Theatre, where he has
been principal designer for 31 seasons. In Asia,
he designed a double bill of “The Nightingale” and
“Cavalleria Rusticana” for Sakai City Opera in Japan
and lit “Cav/Pag” in Macau and “Don Carlo” in Hong
Kong. His musical theater credits include “Fiddler on
the Roof,” “The Sound of Music,” “The Music Man,”
“Les Misérables,” “The Wizard of Oz” and “Into the
Woods” for Skylight Music Theatre. His work for
dance includes “The Indigo Girls Project” for Atlanta
Ballet and “The Nutcracker” for Ballet Hawaii.
Nicholas Carthy—Music Director, Conductor
Nicholas Carthy, now in his 11th season with Eklund
Opera, studied at the Mozarteum in Salzburg,
Austria, and made his conducting debut there at the
Landestheater in “Le Nozze di Figaro.” He served as
musical assistant to Bernard Haitink and Sir Georg
Solti at the Salzburg Festival and to Daniel Barenboim
in Paris, Chicago and Bayreuth. Carthy has conducted
opera productions in Vienna, Salzburg, Oslo,
Stockholm, Winterthur, Milan, Rome, Naples, Bonn,
Eugene and Tel Aviv. He has conducted orchestras
including the Colorado Symphony Orchestra,
Nordwestdeutsche Philharmonie, Orchestra RAI
di Torino, Orchestra San Carlo di Napoli and the
Accademia Filarmonica Roma. As a collaborative
pianist, he has performed in many of the world’s great
halls, including Carnegie Hall, Suntory Hall, Wigmore
Hall, the Bolshoi Theatre and the Musikverein Vienna.
He is music director of the Helgeland Sinfonietta in
Norway and performs chamber music every summer
with his wife and extended family in Reno, Nevada
and Susanville, California.
Karen T. Federing—Stage Manager
Federing is pleased to be working with CU Boulder’s
Eklund Opera Program for the first time. A native
New Yorker, Karen just completed her 15th season
as director of production at Central City Opera here in
Colorado. Karen was part of the stage management
team for the 2014 and 2015 Clinton Global Initiative
conferencesheldinDenver.Sheservedasaproduction
manager for New York-based Gotham Chamber
Opera’s 2013-2014 Season, having previously worked
with Gotham in 2009 and Spring 2013 at The Box on
the Lower East Side. In 2011, Karen stage managed
the world premiere song cycle “Rappahannock
County” by Ricky Ian Gordon and Mark Campbell
for Virginia Opera and stage managed for the Park
Avenue Armory’s Tune-In Festival in 2011 and 2012.
She was also part of the stage management team for
the 2008 Democratic National Convention in Denver.
From 1992 to 2004, Karen was a stage manager for
New York City Opera and stage managed more than
45 productions, including seven “Live From Lincoln
Center” telecasts. Karen has stage managed for many
regional opera companies over her more than 20-year
career, including Chautauqua Opera and Sarasota
Opera, and she accompanied Virginia Opera on its
acclaimed six-week South American tour of “Porgy
and Bess” in 1993.
Leigh Holman—Stage Director
Holman balances her teaching and professional stage
directing career in the U.S. 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 and librettists including
Libby Larsen, Herschel Garfein, Lori Laitman, Robert
Aldridge, Daniel Kellogg, Alberto Caruso, Colm
Toibin, Dave Mason, Jake Heggie, Mark Campbell,
Gene Sheer and Kirke Mechem and has recently
made directing debuts at L’Opéra de Montréal and
Florida Grand Opera. As the founder of CU NOW, CU
Boulder’s New Opera Workshop, she continues to
passionately promote the creation, collaboration and
production of new American works.
Ron Mueller—Technical Director
Ron Mueller has been with Eklund Opera for 18
seasons. His past Eklund Opera productions include
“La Traviata,” “West Side Story” and “Dead Man
Walking.” His other professional credits include
Skylight Opera, Boulder Ensemble Theatre Company,
Crested Butte Music Festival, Colorado Shakespeare
Festival and Boulder Dinner Theatre.
Jeremy Reger—Vocal Coach
International Pianist and Educator Jeremy Reger
maintains an active performing and coaching career.
He has served on the music staff of Virginia Opera,
Eugene Opera, Hawaii Opera Theater, Mill City Opera,
Minnesota Opera, Skylark Opera and Aspen Opera
Theater. He recently joined the faculty of CU Boulder
as a vocal coach. Prior to that position, he taught at
the Music Academy of the West, Christopher Newport
University in Recife, Brazil, and at Indiana University.
He has played in the Virginia Symphony, Williamsburg
Symphonia, the Carmel Symphony and the Terre

C-11
Haute Symphony. Reger has a PhD in collaborative piano
from the University of Michigan under Martin Katz.
Tom Robbins—Costume Designer
Tom Robbins has been with Eklund Opera for 24 seasons.
His past Eklund Opera credits include “Don Giovanni,”
“Anything Goes,” “Susannah,” “Carousel” and “The Rake’s
Progress.” His other professional credits include Bonfils
Theater, Opera Colorado and Colorado Ballet.
Staff
Dean, College of Music
Executive Director
Operations Manager
Marketing and PR Director
Public Relations Manager
Asst. Director of Communications/
Web Admin.
Marketing Manager
Publications Coordinators
Communications Assistants
Video Assistants
Graphic Design Assistant
Box Office Manager
Box Office Services Manager
Box Office Assistants
Photography
60th
Season
Robert Shay
Joan McLean Braun
Nick Vocatura
Laima Haley
Jill Kimball
Jessie Bauters
Daniel Leonard
Zac Barger, Emily Harrison
Helen Slivinski, Maureen Bailey
Jackson Xia, Emma Salvati
Amanda Greening
Andrew Metzroth
Michael Casey
Elise Campbell, Taralynn Dorr, Adrienne Havelka,
Megan Quilliam, Chris Ruiz, Karen Van Acker
Glenn Asakawa, Patrick Campbell, Casey A. Cass
The College of Music Advisory Board list in this program should include chair Mikhy Ritter
and members Sue Baer, Kathy Kucsan, Tom Price, and Becky Roser. The College of
Music Dean’s Cabinet should also include Brice Johnson, Senior Director and HR Strategic
Partner, and David Mallett, Senior Director of Budget and Finance.
Keep in touch and tell us how we’re doing!
Tell us where you found out about today’s performance, and send us your email to be
added to our
music events mailing list by texting:
612-888-3403
All data is confidential. Phone numbers will not be collected or used.

Coming soon...
Flamenco Vivo
Carlota Santana
Poema de Andalucía
Saturday, Jan. 21 at 7:30 p.m.
Macky Auditorium, tickets $20 and up
“This was a show of graceful, sensuous dance, expressing a
host of raw human emotions--evocative of loneliness, pride,
passion and joy.”—The Philadelphia Inquirer
80th
Anniversary

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