Voice and Opera

College of Music honors distinguished alumni

Anonymous — Mon, 03 May 2021 06:00:00 +0000

College of Music honors distinguished alumni Anonymous (not verified) Mon, 05/03/2021 - 00:00

Thousands of students have graduated from the College of Music over the decades, going on to pursue their dreams in a range of industries across the globe. Every year, the College of Music honors established or emerging trailblazers from among our global alumni community. This spring, we're proud to recognize Charlene Archibeque (DMA ’69) and Leenya Rideout (BM ’91).

Charlene Archibeque (DMA ’69)

Originally from a small town south of Columbus, Ohio, called Mount Sterling, Archibeque earned degrees at the University of Michigan and San Diego State University. At Michigan, she was a music education major with her primary instrument being violin, while also training in vocal music and piano.

“In San Diego, they had a policy that women were assigned vocal music and men were given the orchestras,” she explains. “So my whole career obviously got started on the vocal track because of that policy in San Diego, which now of course would be illegal, but at that time, nobody thought anything about it. And it turned out that I really loved directing and was quite good at it.”

After spending seven years teaching junior high in San Diego, she then moved to Boulder to pursue her doctorate at the ��񱦵� in the 1960s. “I was actually the only woman in the doctoral program at the time,” Archibeque reflects. “And I think [the men] were a little jealous of me because I kept my nose to the grindstone.”

She reflects on her time studying in Boulder fondly, describing it as having a small town, western feel: “I loved the school. I loved the teaching faculty. They were all very highly educated and very important people in their respective fields.” She remembers that the college also had one of the largest and most comprehensive collections of choral recordings available, and she loved being able to direct the women’s chorus while teaching classes to non-vocal majors.

“I was very happy there,” she says. In 1969, Archibeque became the first woman to ever graduate from the University of Colorado with a DMA.

Since then, Archibeque went on to achieve great feats in the choral field, lauding the College of Music for setting her up for an illustrious teaching career.

“After a year of paying back my sabbatical to the San Diego Junior College District, I was hired to be the head of the choral program at San Jose State, where I taught for 35 years,” she says. “And the more I taught, the more I thought of myself as a conductor and a teacher. I love this, so I just wanted to pursue it at its highest level.”

Now back at the SJSU campus, Archibeque is regarded as one of the foremost choral conductors and teachers in the United States. Her choirs have gone on to complete 16 concert tours around the world; she has conducted in many major halls like Carnegie Hall, Kennedy Center, and Royal Albert Hall in London; won prizes for Best Conductor at Spittal, Gorizia and Tallinn International Festivals; presented many clinics and workshops around the world; and presents on numerous panels and conventions.

Recently, Archibeque produced a DVD entitled “How to Make a Good Choir Sound Great.”

“My belief, which is strongly backed up by practice, is that you can solve many problems of performance and rehearsal by where you place your singers. And of course, interestingly enough, one of my key points is that there should be at least eight feet of space between the singers, which is obviously going to have strong repercussions in today's turbulent society,” she mentions.

In the next few years, Archibeque hopes that she’ll get to share some of her expertise with fellow choir directors and stay connected with fellow musicians from the College of Music. “I think it's really, really important, that all of us grads who can continue to help keep the music department strong,” she says.

Leenya Rideout (BM ’91)

Born in Montana but raised in Fort Collins, Rideout's love of music blossomed from the age of four when her grandparents started paying for Suzuki violin lessons— and when she started acting out operas with her Barbies.

“I grew up playing folk music around the campfire with my dad who plays guitar, mandolin and banjo,” Rideout describes. “So, I sort of have that aspect of music too. I've even played in a Celtic rock band, country bands and bluegrass.”

In addition to playing instruments, Rideout quickly figured out she loved singing and was involved in choirs at Rocky Mountain High School. “I don't remember ever not singing, and I have recordings of myself on cassette tapes when I was about three. But I didn't really start studying voice until the University of Colorado.”

At the university, Rideout pursued a degree in voice performance with a minor in violin performance. “I also took as much acting and dance as the theatre department would allow,” she says.

Now residing in New York City for the past 25 years, Rideout remembers initially hesitating at the thought of moving there after her time in Boulder. “I was a little too scared to move here first. So, I went to Southern California and thought I could do movies, theater and opera there.” She moved in with her brother and various family members and ended up working in a dinner theater in Southern California before performing on a cruise ship for six months.

After encouragement to make the big move, she remembers buying a Backstage paper on the newsstand to search for auditions. “I went to a couple of auditions, and the third audition I went to was for Eliza Doolittle in ‘My Fair Lady’, which was an international tour that went all over the United States and Canada,” she recalls. Booking the part, she toured as Eliza for a year and made friends and felt like she had a community in the city.

From there, Rideout’s professional life exploded as she attended numerous auditions and did several Off-Broadway projects before booking her first Broadway show— “Cabaret” in 1997.

“‘Cabaret’ is one where I played my violin and sang and danced and acted,” she explains. “Who knew that sticking with all of my hobbies and my skills would pay off?” In fact, her most recent job—in a new musical called ‘Shanghai Sonatas’ about Jewish refugees during World War II— was portraying a violin player.

With a successful career, Rideout is grateful for her craft but acknowledges the hardships that come with living that lifestyle. “I am so glad and blessed and happy with how my life has been,” she says. “But it's not an easy thing. And because of that, it's so rewarding that I get to explore and learn about different cultures, time periods and places all over the world from each show that I do.” Being able to touch people’s lives with the stories she’s able to present keeps her passionate.

“I wrote my own musical. It’s a solo show called ‘Wild Abandon’ that got picked up and ran for five weeks Off-Broadway here in New York,” Rideout says. “And people got to see the show that I wrote and composed and that featured songs I wrote along with my mom's artwork. It was about my mom and me. It’s also about women and their needs being heard in society, even though we’re sometimes silenced. It was so rewarding.”

Today, Rideout lives with her husband, who is also an actor, and their dog. “He and I met in a show, having a ‘showmance,’ as I call it,” she recalls. As such, both actors have a deep empathy for each other’s work and lifestyles. She’s also excited that her cast album for “Wild Abandon” is now available online, and she’s thinking carefully about what projects she wants to hop onto next.

“I feel like art can do so much right now for the world. The world needs a lot of healing and a lot of bringing people together. Maybe I need to write something else,” she muses. “And I have so many ideas. It’s part of my job in these between times to be excited about a blank piece of paper, as opposed to freaking out. This is a blank piece of paper. And what do I have to say?”

Every year, the College of Music honors established or emerging trailblazers from among our global alumni community. This spring, we're proud to recognize Charlene Archibeque and Leenya Rideout.

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Lessons for the road

Anonymous — Tue, 13 Oct 2020 20:31:51 +0000

Lessons for the road Anonymous (not verified) Tue, 10/13/2020 - 14:31

Claire McCahan (MM ’18, AD ’20)

Shoes off, iPad out, nothing in pockets, please don’t confiscate my snacks … I pass through security in the Denver airport and head down the now familiar grey walkways. In the past three months, I’ve spent enough time away from home to make my own bed feel like a vacation. I am on the road yet again, seeking what many young opera artists in my position are hungry for: opportunity. The chance to be heard, valued and employed in a competitive field within an industry struggling to redefine its relevance. Is this dismal? Maybe. Or perhaps, like many things experiencing change, opera is allowed complexity. In seeking to maneuver this uncertain path, like many music students do upon graduation, I ask myself:

How can I take care of myself?

Developing the Whole Musician is a CU group that offers therapy from which every music student can benefit: breathing exercises, meditation and a safe space to share fears, doubts and insecurities. Because of it, I feel more free in my music making and more accepting of and patient with myself, and I have a new foundation of resilience. It’s the type of work that has helped me to face pain and to achieve healing by welcoming openness to the world and what it may bring.

How might I continue to seek diverse opportunities I am passionate about?

I love classical singing. The repertoire I study is remarkable in its capacity for complex and evocative expression. This year, I added Mozart’s endearing character Cherubino to my repertoire during the Eklund Opera Program production of Le nozze di Figaro. Outside of opera, I have performed as a soloist and ensemble member exploring the genius of baroque-era music; I have performed newly written works with CU New Opera Workshop and the Pendulum New Music concert series; and my relationships at the College of Music have led to further projects, such as singing on a movie soundtrack and performing with an international ambient rock band. I even pursued a project combining artistic practice with scientific research and won the College of Music’s Centennial song contest. Looking back at these experiences, I see a breadth of possibility for my future music making that will include a colorful array of creative projects that appeal to my values.

How will I hold failure as well as success?

Looking out of the plane window at the outline of the Rocky Mountains, I feel ready: ready to take a risk and not know the whole picture of my future. Supported by teachers, friends and family, I believe in the value of what I have to offer and am inspired by my colleagues and the CU alumni who have forged their paths before me. This community helped me grow as a professional artist, one who is able to take criticism, manage her time and energy and trust her instincts. I am ready to strive, and to fail, and to strive again, and will always look for the next opportunity.

Recent graduate Claire McCahan (MM ’18, AD ’20) reflects on the most important lessons she learned at the College of Music

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Bricks, mortar and memories

Anonymous — Tue, 13 Oct 2020 20:31:22 +0000

Bricks, mortar and memories Anonymous (not verified) Tue, 10/13/2020 - 14:31

Marty Coffin Evans (Eng ’64)

From a wooden College of Music building to the structure now being built, what a change! I’ve enjoyed it all—from those years long ago to its newest form.

As a child, one of my father’s [former voice area head Berton Coffin] voice students would walk me across Broadway from University Hill Elementary to his second floor studio in the old music building. My first marriage proposal, at age 10, came from another of my father’s voice students, who swooped me up in his arms. His wife would later say he certainly didn’t wait for me to grow up! That building’s long gone, replaced years ago by the western portion of the UMC.

By the late ‘50s or early ‘60s, a new College of Music building was built. During my years at CU, I frequently stopped by my father’s studio for a quick chat or to peer through the window to wave ‘Hi.’ Gone is that window, along with his studio and those of others on the south side of the building.

Gone is the choir room near the south corridors of studios, where I sang with the Women’s Glee Club and later the University Choir. Several years ago, that earlier choir room was remodeled into the Chamber Hall. It too is gone now with the new building transforming that side.

Sitting in Grusin Hall, I have many happy memories of rehearsing and performing there during those University Choir days. Most of those years, David Glissmann conducted these different choirs. I learned a life lesson then: When your favorite conductor (or boss) leaves, you need to accept and work with the new person. Leaders change and so must we.

Growing up in the College of Music, I remember different faculty and staff members, along with their families. Some who immediately come to mind include Bill and June Glendennin (son Richie), Warner and Norma Imig (daughter Betsy and I used to enjoy play dates), Storm and Ellen Bull (daughter Chrissy), Gene Hilligoss, Jo Baird, Hugh McMillan, Howard Waltz, Cecil Effinger and the Parmelees.

As Artist Series director, my mother, Mildred Coffin, invited music faculty members to our home for a reception following a guest artist’s performance. Watching my parents host his graduate students at home influenced me to do likewise when teaching college classes elsewhere.

When I returned to Boulder in 2001 following an education career in California, I joined the Vocal Advisory and College of Music Advisory Boards. For many years, we looked at designs and explored possible relocations for the music building. What a delight to be on the eve of opening this long-awaited building!

Our students and programs continue to excel. Soon they’ll have a facility that complements their talent. We can now celebrate a new building where more great music is taught and performed, and new memories are made.

��񱦵� alumna and College of Music supporter Marty Coffin Evans looks back on decades spent among the musicians of Boulder

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Leaving a legacy

Anonymous — Tue, 13 Oct 2020 20:29:28 +0000

Leaving a legacy Anonymous (not verified) Tue, 10/13/2020 - 14:29

Jessie Bauters

In this article

Dennis Jackson's roots in history study
Alumni share memories of Jackson as an educator
Leigh Holman carries on Jackson's opera legacy

What does it mean—as a faculty member of more than 30 years—to leave a legacy at a place?

Retired Professor of Voice and CU Opera Program Director Dennis Jackson says, years after making his mark on the College of Music, it’s not something he thinks about much. “I always pictured myself as custodian of the opera program. Somebody who was here and building the program, making sure the students got the tools they needed,” he says.

It’s a modest response from the man who built the opera program into what it is today, establishing the precursor to the touring Opera Theatre Singers and creating a three-performance opera season—still rare for university music programs.

But ask his self-proclaimed former “right hand man” and current Eklund Opera Program Director Leigh Holman, and you’ll get quite a different response. “He was a wonderful producer. He knew how to establish a vibrant active program. Many of the things he started, I continued on.”

Holman says Jackson’s positive attitude and his philosophy of always putting students first were foundational to the flourishing program she now leads. He was a friend and mentor to her during her time as a doctoral student in the late 1990s—as he was to many of his students. It’s odd to think, then, that such a driving force in CU opera started off as a history student.

Taking a turn

As an undergraduate student at Texas Western College, Dennis Jackson was active in choir, but his major was in history and government. He says someone noticed him in the choir and recommended he give music a more serious try. “Howard Skinner, who was a faculty member at the University of Northern Colorado, was at Texas Western at that time and was the choral director. He's the reason that I went into music.”

Jackson says the transition from history to music wasn’t too drastic: Instead of spending his time in the library, he was spending it in the practice room. And he says his diverse background gave him good context as he shifted to the arts.

“The history of music and the history of politics are intertwined much of the time,” he says. “When I was on my first trip to Europe, that really struck me.”

From Texas, Jackson went on to receive a master’s degree from Wichita State University and a doctoral degree from the University of Michigan, where he studied with internationally known tenor John McCollum and legendary French baritone Pierre Bernac. He also coached with Dalton Baldwin and Eugene Bossart. With that training under his belt, he came to Boulder in 1971 as an assistant professor of voice with a specialty in French art song and French diction.

Legacy as an educator

For the next three decades, Jackson built a legacy: He would bring a long-running Gilbert and Sullivan festival to Boulder—often featuring the beloved steward of the duo’s operettas, John Reed—establish a traveling outreach group called the Lyric Theatre Singers, oversee the foundational years of the CU Opera Program and leave an indelible mark on the students he taught, including Sarah Barber (MM ’01).

“I would describe Dennis as a professor who absolutely put the students first,” Barber says. “Of course he loves opera, but he was always on board for supporting a student in whatever way they needed.” Barber, who taught part time at the College of Music during the 2019-20 academic year, is based just down the road from Boulder in Broomfield. She’s been teaching voice and singing professionally since earning her master’s degree, and says Jackson’s influence on her life is apparent every day.

“The patience that he had with us as students, the passion he had for music and opera and the vast performance opportunities he provided gave me an invaluable foundation for my future in the music profession.”

Barber sang in Jackson’s Lyric Theatre Singers and attributes the experience to her early career success. “After I graduated, I started working for Central City Opera in their outreach program, which meant going into schools and being able to sing all sorts of styles of music and do things on the fly. The experience with Lyric Theater Singers gave me the chance to first build those valuable, flexible performance skills under Dennis' expert direction,” Barber recalls.

Like Barber, Leigh Holman says Jackson provided her with an important lesson as she was beginning her teaching career. “When I got a job as head of the voice department at the University of Arkansas after graduation, I was charged with starting the opera program there. I remember telling Dennis that directing and teaching didn’t make me nervous—it was fundraising I was worried about. And his advice was, ‘The most important thing you have to do is be a missionary for your work.’ And that quote stays with me even now.”

Jackson says one might define his legacy by the team he surrounded himself when CU Opera was getting off the ground. Professor of Vocal Coaching Mutsumi Moteki and former opera music director Robert Spillman came to the college on his watch, along with current Technical Director Ron Mueller and recently retired costumer Tom Robbins. Marilyn Cohen in the Dance Department was a part of the production team. He also instituted a longtime partnership with New York scenery designer Peter Dean Beck.

“I don't know any school or university in the United States that had a better production team than that,” he says.

When Jackson retired from the College of Music in 2001, faculty and students gave him a send off worthy of his devotion to opera, putting on a concert in the Music Theatre. Ever humble, Jackson says it was one of his fondest memories. “It was hard for me to retire, because I love the students so much. And I always had the support of the administration and faculty, which made the opera program what it was.”

Rooted in excellence

In 1994, the CU Opera Program was deemed a Program of Excellence by the Colorado Commission for Higher Education. It was a designation Jackson had been working for three years to secure, for the sake of the program and his students. When it finally happened, he says it took him by surprise.

“I was sitting in the office one day when the phone rang and someone said, ‘I have news for you, but you can't tell anybody because it hasn't been released to the press. You've won. You're a program of excellence, with an award of $850,000 over five years.’”

For Jackson’s successor Holman, the news didn’t come for a surprise at all. “He was just a fun, positive leader. He was a good director and a hard worker. He really got things done.”

As he thinks about the future of his beloved art form, Jackson says opera is in good hands at CU. And that’s the important legacy, he says, that he hopes lives on at the College of Music.

“I remember a quote from Tyrone Power, who was a great actor. He said, ‘Opera is the greatest form of drama, because it combines music and drama.’ The text and story are supplemented with a music to express those emotions, and that’s what makes opera so strong.”

CU Opera founder Dennis Jackson and his students talk about the foundation he laid at the end of the 20th century.

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Supporter spotlight: Barry and Sue Baer

Anonymous — Wed, 24 Jun 2020 06:00:00 +0000

Supporter spotlight: Barry and Sue Baer Anonymous (not verified) Wed, 06/24/2020 - 00:00

Sabine Kortals Stein

Barry and Sue Baer met at ��񱦵� in 1964, married in Los Angeles in 1966 and returned to Boulder in 1971 to attend graduate school. Having lived all over the world since then, the Baers—loyal donors of the College of Music for more than a decade, including a generous gift of $100,000 to establish the Baer Teaching Assistants’ Office in the expanded Imig Music Building—nevertheless always maintained a strong connection to the university.

The couple—who moved back to Boulder permanently in 2003—are also longtime Adopt-a-Student sponsors and regular supporters of the ��񱦵� Program in Jewish Studies, Veterans/ROTC programs and more. Additionally, they’ve documented their intent to create a vocal performance scholarship, a choral music scholarship and a choral conducting scholarship in their estate plans; Sue, especially, is passionate about conducting.

“When I’m singing or studying music, everything else in the world just melts away,” she says. “It’s all I think about. It nourishes my spirit.”

“Wherever we lived, we always tried to take in local music or shows,” adds Barry, who earned a bachelor’s in accounting at ��񱦵�, along with an MBA. He went on to become a certified public accountant and served as a U.S. Army officer for 26 years, retiring at the rank of colonel. Thereafter, he directed the Department of Public Works in the City of Indianapolis.

“I’m 100 percent Broadway shows and Barry certainly appreciates music with me,” continues Sue, who earned a bachelor’s in education and a master’s in counseling here. While Barry served in the Army, Sue worked as a school teacher, then as a counselor and later as a cooking instructor and food stylist. The couple—married 54 years—have two sons and a handful grandchildren who inspired Sue to write several children’s books, including “Just Elliot,” featuring the life of a boy with autism.

For Sue, the College of Music’s emphases on diversity and inclusion are especially meaningful. “The college provides a safe, nurturing place for all kinds of students to feel welcome and to have a wonderful experience,” she says.

Agrees Barry, “We’re finally in a position to help others, and we’ve always been impressed with the College of Music. We didn’t have any money when we got married—but we were given a hand up, here and there. We feel a debt of gratitude to ��񱦵�.”

Not to mention, both Barry and Sue were influenced by philanthropically minded parents early on. “They taught us to give back,” says Barry. Indeed, the Baers’ philanthropic engagements—also including service with the ��񱦵� Foundation, the College of Arts and Sciences and the College of Music’s Advisory Board—extend beyond campus. From backing several human services nonprofits to supporting advocacy for and legal services to low-wage workers to their active involvement with the Congregation Har HaShem, the Baers model inspired giving.

“We decided on the named teaching assistant office because I know so many of those grad students from singing in the Collegiate Chorale,” says Sue, circling back to explain the couple’s most recent philanthropic turn.

“And seeing Sue happy is job number one,” Barry is quick to add. “There’s a Hawaiian word—‘ohana’—which means family. ��񱦵� has become part of our ‘ohana,’ our extended family.”

“When I’m singing or studying music, everything else in the world just melts away,” says Sue Baer. “It’s all I think about. It nourishes my spirit.”

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Breadth of experience: Kristin Gornstein

Anonymous — Wed, 10 Jun 2020 16:00:38 +0000

Breadth of experience: Kristin Gornstein Anonymous (not verified) Wed, 06/10/2020 - 10:00

Sabine Kortals Stein

For mezzo soprano Kristin Gornstein (MM ’08), studying voice performance at ��񱦵�’s College of Music was a time of growth as a singer and actor.

“I came to the College of Music for the opera experience,” says Gornstein (left, credit Jessica Osber), praised as “a fine actress with a deep, spacious sound” (Parterre). “I got some great roles while I was there, singing as a soprano. I covered the really high part in ‘The Rape of Lucretia,’ among several other roles [including ‘Vixen Sharp-Ears’ in Leoš Janáček’s ‘The Cunning Little Vixen,’ ‘Maria’ in Leonard Bernstein’s ‘West Side Story’ and ‘Kitty Hart’ in Jake Heggie’s ‘Dead Man Walking’].

“My experience at ��񱦵� was wonderful timing in terms of gaining confidence to audition, knowing that I could carry a stage.”

Indeed, Gornstein is now a frequent performer on the New York opera scene, having appeared as “Lucretia” in Benjamin Britten’s “The Rape of Lucretia” (below right, credit David Altman) and “Rosina” in Gioachino Rossini’s “Il barbiere di Siviglia” with the Loft Opera, as well as taking on the roles of “Mrs. Slender” in Antonio Salieri’s “Falstaff” with the Dell’Arte Opera, “Dulcinée” in Jules Massenet’s “Don Quichotte” with the Utopia Opera and “Romeo” in Vincenzo Bellini’s “I Capuleti e i Montecchi” with Opera Modo. Her many opera roles further include “Angelina” in Rossini’s “La Cenerentola” with the Salt Marsh Opera, and “Paul” in the world premiere of Kurt Vonnegut and Richard Clark’s “Happy Birthday, Wanda June” with the Indianapolis Opera.

Additionally, Gornstein credits her ��񱦵� experience with turning her on to new music. “I learned how it works—meeting and working directly with composers and getting the chance to have some input,” she says. “The College of Music refined my understanding of collaborating with living composers and premiering their works. It’s become a big part of what I do in New York.”

Edgy and imaginative, Gornstein is an associate artist with Heartbeat Opera, appearing as featured soloist in Queens of the Night: Mozart in Space at National Sawdust in Brooklyn and as part of the first fully staged opera pastiche ever performed on Manhattan’s High Line. Previously, she and her husband—violinist Ryan Drickey, also a College of Music alumnus, having earned a master’s degree emphasizing both classical and jazz traditions—spent a year in Stockholm, Sweden, where Drickey was a Fulbright scholar teaching American roots music at the Royal College of Music while learning from Swedish folk masters. Meanwhile, Gornstein attended the Opera College of Stockholm and performed at the Royal Opera, premiering as the mezzo-soprano soloist in Karl Unander-Scharin’s Opera “Mecatronica” and reprising that performance in the Operadagen Rotterdam Festival’s production of “Distant Voices.”

When the couple (left, onstage performing at “Collaboret," credit Heartbeat Opera) returned to this side of the Atlantic in 2012, Gornstein credits Opera Music Director Nicholas Carthy for connecting her to a voice teacher to hone her singing and deepen her sense of self as an artist. Specifically, Gornstein’s training includes improvisation study and subsequent performances with OperaWorks founder Ann Baltz, as well as extensive movement and dance training. In 2015, Gornstein was a fellow with the Tanglewood Music Center, where she was featured as soloist in Steven Mackey’s “Madrigal,” Johann Sebastian Bach’s Cantata BWV 155 and as “Federico García Lorca” in excerpts from Osvaldo Golijov’s “Ainadamar.”

Gornstein was further lauded for her portrayal of “Ramiro” in Mozart’s “La finta giardiniera” in a co-production by On Site Opera and Atlanta Opera, a role she reprised in 2018 at the Caramoor Center for Music and the Arts. The same year, she made her Carnegie Hall debut, winning third place in the Lyndon Woodside Oratorio Competition.

Today, Gornstein and Drickey are at home in Beacon, a suburb of New York. “It’s a small town—about 10,000 people— that’s hugely artistic,” Gornstein reflects. “I’ve been doing some modern stuff and a lot of earlier music, like the early-Mozart ‘Shepherd King.’”

In the wake of the COVID-19 pandemic, arias from “The Shepherd King” will be recorded for video, available this month (check Gornstein’s Facebook page for updates); she hopes the postponed production of “Il Re Pastore” by the little OPERA theatre of ny (LOTNY) will be successfully rescheduled this fall.

“I’ve worked with LOTNY in the past,” she adds. “Coming back to those relationships time and time again is incredibly rewarding.”

Her advice to new grads, especially in this period of uncertainty? “You’ve soaked up 23 years or so of learning and taking others’ advice. Now, you’re the one in charge. More than ever, think about what you really want to do—and whatever your passion is, there’s a path waiting for you.

“No one knows what’s happening right now, which can be a wonderful time to ask what you envision for yourself—and then follow or create the path that leads you there.”

For mezzo soprano Kristin Gornstein (MM ’08), key to survival as an artist during uncertain times is to take charge of your career.

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Scenes from "Béatrice et Bénédict"

Anonymous — Wed, 06 May 2020 15:42:35 +0000

Scenes from "Béatrice et Bénédict" Anonymous (not verified) Wed, 05/06/2020 - 09:42

In light of its canceled live production in April 2020, Eklund Opera presents “Béatrice et Bénédict,” a Quarantine Opera by Hector Berlioz. Tune in as we release more scenes in the coming weeks!

Marriage isn’t for everyone, least of all verbal sparring partners Beatrice and Benedict. But if they can be convinced to set aside their differences, each might see what their friends already know—Beatrice and Benedict are a perfect match. Based on Shakespeare’s comedy “Much Ado About Nothing,” “Béatrice et Bénédict” is a boisterous romance about the preposterous act of falling in love.

[video:https://youtu.be/HayxLFm33M0]

[video:https://youtu.be/XWd89pw7D3s]

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Congratulations to the Outstanding Students of 2020!

Anonymous — Mon, 04 May 2020 22:01:32 +0000

Congratulations to the Outstanding Students of 2020! Anonymous (not verified) Mon, 05/04/2020 - 16:01

Pranathi Durgempudi

The College of Music proudly recognizes four undergraduate students from each class with the Outstanding Student Award each year. Celebrating their hard work and dedication to their education, especially during times like these, these students represent some of the best and brightest that the College of Music has to offer. Meet the College of Music Outstanding Students of 2020!

Isabel Goodwin
Freshman, Composition and Bassoon Performance

For freshman Isabel Goodwin, choosing a college to attend among the 10 that she auditioned at and toured came down to deciding which one would support her goals the best. “CU was the one school where I would be allowed to participate in bassoon studio, composition studio, music technology and also outside of music electives,” she says.

Grateful for the flexible and well-rounded environment the College of Music offers, Goodwin has loved her freshman year. “I was a little nervous coming in since you never really know what to expect, especially having moved from out of state to a school where I didn't know anybody. But I have amazing friends, extremely insightful professors and an environment where I feel I belong.” She says her weekly composition lessons with Dr. Pann have been a highlight this year.

When selected for the freshman Outstanding Student Award, Goodwin remembers being honored and inspired to work harder and prove herself— something she’s continuing to do during this period of remote learning.

“Now that we're all at home, I've taken advantage of the time to work on my piano piece, which I actually just finished,” Goodwin says. “It's definitely been a lot harder to be far away from the school, my professors and my friends, but I can only hope to use this time to my advantage. I mean, the commute is awesome!”

This summer, Goodwin hopes to work as a marching tech for her high school. “I love teaching students in sectionals and on the marching field, and it makes me feel good to give back to the band program that put me on the path I am on now.”

Ethan Blake
Sophomore, Cello Performance

For Ethan Blake, sophomore year has been a busy one full of growth. “Along with getting more settled to Boulder and CU (like living off-campus and playing with more people), it's been a great year for extending my musical presence throughout the area and expanding my musical horizons by learning new styles, new repertoire and playing around with different types of ensembles,” he explains.

One of Blake’s favorite experiences this year was playing in the pit orchestra for the production of “Marriage of Figaro.”

“Although the performances were cancelled, it was still a great experience to have played in rehearsals alongside a wonderful group with Maestro Carthy and the people in the opera program,” he says.

Now that classes have gone remote, Blake is doing his best to stay on top of classwork and practicing cello to keep himself in a good mental headspace. “But I think my mom's cooking is making me gain a few extra pounds,” he jokes.

For the summer, Blake was honored with a fellowship to attend the Aspen Music Festival but is waiting to hear back about potentially shifting plans. “Aside from that, I think this summer I'll plan on getting some more time with my family and friends, learn new music and, depending on when these restrictions might end, explore different parts of Colorado.”

Claire Gunsbury
Junior, Flute Performance and Musicology with a minor in Business

Her selection as an outstanding student shocked and humbled junior Claire Gunsbury. “I’ve always felt a tremendous amount of support from the faculty at the College of Music and am proud to be a student here with incredible mentors,” she says.

As a dual major in Flute Performance and Musicology, Gunsbury believes that each of her majors informs the other to create a broad educational experience for her. “Studying flute performance gives me a tangible, personal experience with music that you can’t get from reading a text, and discussing broader topics in musicology has given me a wider perspective on how music interacts with politics, identity, society, and what this might mean for us as musicians.”

Junior year may be flying by for her, but Gunsbury is able to slow down and reflect on all her favorite memories. “One of my favorite things about this year was taking a contemporary dance class— it’s been refreshing to learn something new and experiment with another type of performance art,” she says.

Before classes transitioned to remote learning, Gunsbury and pianist Pedro d’Avila premiered Dianna Link’s fairytale suite for flute and piano titled “Old as Time” at the Persevering Legacy Concert.

“Dianna and I had the idea to create this piece last spring, and each movement depicts a variation of ‘Beauty and the Beast’ as told in different cultures around the world,” she explains. “It was so much fun to bring it to life with her and Pedro. The premiere was hands down my favorite performance of the year.”

In this between time, Gunsbury is doing her best to keep up with classes and continue working towards the future. “I’m currently preparing a video of solo flute works in place of my junior recital, planning as much as I can for next year, doing yoga and trying to find different
sources of inspiration,” she says. “I'm grateful that my family and friends are all healthy, and I'm grateful to have them as a support system as we navigate through all the changes.”

For the summer, she tentatively plans to go back home to Minnesota and teach while preparing for graduate school auditions and working on her senior thesis.

“In the process of studying our craft we develop so many versatile skills like adaptability, compassion, patience, grit and curiosity which are all things to really hold on to, especially right now,” Gunsbury reflects. “What I’ve struggled with the most in this time is being kind to myself and taking time to grieve the loss of things, so I suppose that is my advice— take time to do those things. And delight in the little things that may lift you up.”

Sophia Zervas
Senior, Piano Performance and Voice Performance

Since senior Sophia Zervas was in high school, she’s been taking piano lessons with Professor Korevaar, and she couldn’t wait to learn more from him at the collegiate level.

“I was also drawn to the fact that CU offered conservatory-level instruction and training while being part of a larger university,” Zervas says. “Every faculty member in the College of Music is at the top of their field, and the classes I’ve taken outside of the College of Music have also been enriching and made me a more well-rounded person.”

Being a true Coloradan, Zervas was also excited by the opportunity to stay close to the mountains and only be an hour away from her home in Denver. Now a senior, she describes this year as being both hectic and wonderful.

“One thing that I’ve loved about my time at CU has been the openness of the faculty to me pursuing many different musical interests, and this year was no exception,” she explains. “During the fall semester I was preparing for my senior piano recital while working the first chapter of my honors thesis and completing 15 graduate applications. This spring, I had the privilege of playing Barbarina in Mozart’s “Marriage of Figaro,” singing with the Early Music Ensemble, continuing work on my honors thesis and deciding where to go for graduate school. So much has happened in eight months—it’s kind of surreal!”

When she found out she was named the senior Outstanding Student, Zervas couldn’t contain her excitement. “It’s affirming to have hard work and dedication recognized in this way. I have been impressed time after time by the students in the College of Music and their creativity, work ethic and talent—often in multiple areas! There are many others in this class who could have won this award, so to be chosen as this year’s outstanding graduating student is truly a great honor.”

Amid all the recent changes, she admits that there have been a lot of ups and downs. “One of the difficult things to cope with has been the loss of many culminations and celebrations that I had looked forward to at the end of senior year, like my senior voice recital, trips to visit prospective graduate programs and a graduation ceremony.” Though the College of Music commencement ceremony has been moved virtually, Zervas will still be honored at the event, and she is grateful for more time to wrap up her thesis and classes.

In this challenging time for musicians, Zervas encourages her peers to give themselves “grace in finding new routines” and allowing themselves room to cope. “Having something to do every day that you’re passionate about, whether that be a specific practice or studying routine or spontaneous opportunities to Facetime with friends or family, can help restore some normalcy,” she says.

This fall, Zervas is heading to Harvard University to pursue a PhD in Ethnomusicology.

“I’m absolutely thrilled and could not be more thankful to have this opportunity,” she says. “August can’t come soon enough! This summer, I will be taking German and Greek language classes to prepare for my graduate studies. Otherwise, I hope the restrictions will be lifted in time to spend time with friends and family and enjoy Colorado before my move back East.”

Celebrating their hard work and dedication to their education, especially during times like these, meet the College of Music Outstanding Students of 2020: Isabel Goodwin, Ethan Blake, Claire Gunsbury, and Sophia Zervas!

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Video from the vaults: University Singers

Anonymous — Fri, 01 May 2020 14:45:46 +0000

Video from the vaults: University Singers Anonymous (not verified) Fri, 05/01/2020 - 08:45

Our concert halls may be closed this spring, but staying connected with musical performance is more important than ever. As we all wait to come back, we'll be sharing select videos to colorado.edu/music/video for your enjoyment.

The University Singers, conducted by guest conductor Sharon Hansen, performed Purcell's "Hear my prayer, Oh Lord" in Grusin Music Hall on Oct. 27, 2019.

[video:https://youtu.be/2753--ZKX7I]

The University Singers, conducted by guest conductor Sharon Hansen, performed Purcell's "Hear my prayer, Oh Lord" in Grusin Music Hall on Oct. 27, 2019.

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Ready for anything: Maureen Bailey

Anonymous — Tue, 03 Mar 2020 18:42:51 +0000

Ready for anything: Maureen Bailey Anonymous (not verified) Tue, 03/03/2020 - 11:42

Sabine Kortals Stein

“After graduating from the College of Music, I got into a life-threatening car accident,” says Maureen (Mo) Bailey (MM ’18). “That experience flipped my whole life perspective on its head.”

For the vocal performance major, that meant taking a break from music—only to find her way back to it, full throttle. Indeed, among her latest musical accomplishments, Bailey was among a handful College of Music students and alumni (Claire Mccahan, Conor Brown, Rebecca Myers and John Boggs) who sang on the score for the recently released mystery/crime thriller “Uncut Gems,” starring acclaimed actor Adam Sandler.

“After my accident, I wanted to be near family and I got a corporate marketing job in Fort Collins,” explains Bailey, a Fort Collins native whose bachelor’s degree in music (horn performance) from DePauw University includes a business minor in economics. “It was a good experience, but I also realized what I don’t want to do.

“It became very clear to me that music is the heartbeat of my life.”

Today, the versatile soprano specializes in contemporary and early music. In addition to her work as a solo and choral singer, she’s resident soprano of Solis, a Boulder-based quintet that brings new life to Renaissance vocal music and newly commissioned works from composers around the world. Last fall, the group performed at Denver’s Paramount Theatre alongside Jónsi [of the Icelandic avant-rock band Sigur Rós] and Alex Somers for the nationwide tour of their album Riceboy Sleeps.

Highlights of Bailey’s solo career include, among others, the roles of Zerlina in an all-female production of a “Don Giovanni,” Ginevra in Handel’s “Ariodante,” First Lady in Mozart’s “Die Zauberflöte” and Jenny in Ned Rorem’s “Three Sisters Who Are Not Sisters”—as well as solo engagements with the Longmont and Loveland symphonies.

For the past three years, she’s also been a member of Ars Nova Singers, a Boulder-based, nationally recognized ensemble specializing in a cappella music of the Renaissance and the 20th and 21st centuries. “In grad school, I did mostly solo singing,” says Bailey. “But during my undergrad, choral music was my core, along with French horn. It’s been wonderful to be re-introduced to choral singing … to return to those roots.”

Bailey credits her ��񱦵� education with preparing her for a musically variegated career. “The College of Music, particularly the professors I had the honor of working with, always encouraged me to pursue music that made me feel fulfilled,” she reflects. “I never felt pushed to take the standard path of an opera singer, if that wasn’t for me.

“My voice professor, [Assistant Professor of Voice] Abigail Nims, was especially inspiring and influential. She created a space for me to explore the diverse capabilities of my voice, my varied—and somewhat unconventional—musical interests and different career paths that were available to me in music.

“I truly feel like the College of Music was the catalyst for all the work I’ve done since graduating, and I’m incredibly grateful.”

And when she’s not singing? Bailey is big on nutrition and fitness—she loves to ski, climb and run—and she enjoys a good local brew.

Maureen Bailey and the other members of vocal ensemble Solis

Alumna Mo Bailey was among several College of Music vocalists to appear on the soundtrack for the new Adam Sandler film, “Uncut Gems.”

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Voice and Opera

College of Music honors distinguished alumni

Charlene Archibeque (DMA ’69)

Leenya Rideout (BM ’91)

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Lessons for the road

How can I take care of myself?

How might I continue to seek diverse opportunities I am passionate about?

How will I hold failure as well as success?

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Bricks, mortar and memories

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Leaving a legacy

Taking a turn

Legacy as an educator

Rooted in excellence

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Supporter spotlight: Barry and Sue Baer

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Breadth of experience: Kristin Gornstein

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Scenes from "Béatrice et Bénédict"

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Congratulations to the Outstanding Students of 2020!

Isabel Goodwin Freshman, Composition and Bassoon Performance

Ethan Blake Sophomore, Cello Performance

Claire Gunsbury Junior, Flute Performance and Musicology with a minor in Business

Sophia Zervas Senior, Piano Performance and Voice Performance

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Video from the vaults: University Singers

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Ready for anything: Maureen Bailey

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Isabel Goodwin
Freshman, Composition and Bassoon Performance

Ethan Blake
Sophomore, Cello Performance

Claire Gunsbury
Junior, Flute Performance and Musicology with a minor in Business

Sophia Zervas
Senior, Piano Performance and Voice Performance