Faculty

New innovative graduate degree bridges music research + performance

Mariefaith Lane — Wed, 08 Oct 2025 11:41:31 +0000

New innovative graduate degree bridges music research + performance Mariefaith Lane Wed, 10/08/2025 - 05:41

MarieFaith Lane

This fall, the ��Ƶ18 College of Music launched a graduate program that reimagines the study and practice of historical music. The new master’s degree in historical performance and research blends rigorous academic scholarship with intensive professional-level performance training, offering students a path found at no other institution in North America.

The program is co-directed by Assistant Professor of Harpsichord + Eugene D. Eaton, Jr., Chair in Baroque Music Performance Lillian Gordis (pictured left) and Assistant Professor of Musicology Saraswathi Shukla (right) who developed a curriculum modeled after European conservatories and universities where hybrid programs have existed for decades. Gordis, who completed such a program in Paris, says it was “a really rewarding degree” that empowered her to develop broadly-based skills in writing, archival research and performance-related scholarship. Our new program offers CU Boulder students the opportunity to gain a comparable level of knowledge and skill without traveling abroad: Emphasizing cohesion among university and conservatory coursework, co-taught classes and rigorous skill-building, the program prepares students for scholarly creative works, performance and more.

“Historically, early music has always been a blend of scholarship and performance,” says Shukla. “Over time, those two branches split apart. What we’re doing is bringing them back together in a way that equips students with the full range of skills they need to succeed in diverse disciplines.”

A rigorous curriculum
Students will take seminars in performance practice, tuning and temperament, basso continuo and archival research. They will also study privately on their instrument, perform in the College of Music’s early music ensemble and complete a master’s thesis. Public performance is a major component of the new master’s degree: Students must present a recital in both the first and second years.

“This is not a program for the faint of heart,” notes Gordis. “Students are expected to perform at a high level, write a substantial thesis and master the core skills of historical performance. It’s almost a double workload, but it prepares students for doctoral study, or a professional performing career or other related career.”

Unlike a conventional performance or musicology degree, the program demands equal commitment to both. Gordis and Shukla emphasize that the workload is intentionally rigorous but designed to be complementary: Research courses inform performance and performance deepens research.

Responding to national trends
The College of Music is introducing the degree at a pivotal moment: Across the country, early music programs are shrinking or closing, leaving fewer opportunities for students who wish to pursue specialized training.

“There’s strong demand from students for this kind of program, but fewer places where they can actually get it,” explains Shukla. “Our program fills that gap while also offering something distinctive: The chance to graduate prepared for both research and performance at the highest levels.”

Gordis adds that young musicians increasingly demand flexibility in their training. “Many students don’t want to be forced to choose between performance and scholarship right after completing their undergraduate degrees,” she shares. “Our new master’s degree keeps both doors open and allows them to build the skill set they need in a complex and changing profession.”

Ensuring broadly-based career options
This forward-thinking approach aligns with the College of Music’s mission to prepare students for careers beyond music performance, embracing an interdisciplinary model that encourages holistic student development and discovery. Specifically, the program reflects the college’s innovative universal musician approach to achieving its mission, preparing students for flexible career options.

The program’s inaugural student—Ray Pragman—establishes the beginning of a new academic community and the future of historical performance education, nationally.

A forward-looking mindset
For Gordis, the program is also about cultivating a mindset. “Historical performance is about curiosity,” she says. “It’s about asking questions, experimenting and building community. We want our students to experience the new program as a space where they can pursue their interests rigorously, but also creatively—and come out prepared for whatever direction they choose.”

Shukla also views the program as developing skills that extend beyond music. “We’re offering students the tools to ask the right questions. That kind of open-mindedness and critical thinking are valuable not just in music but in any field.”

A one-of-a-kind opportunity
By combining research and performance into a single degree, the CU Boulder College of Music is positioning itself at the forefront of historical music education in North America. The ability to attract international guest artists, invest in tenure-track faculty and foster interdisciplinary collaboration sets the program apart.

Applications for the master’s in historical performance and research are now open.

This fall, the CU Boulder College of Music launched a new master’s degree in historical performance and research—the first of its kind in North America. Combining rigorous academic training with professional-level performance, the degree prepares students for doctoral study, performance and diverse other music careers.

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“Always a Flutist” celebrates flutes, community and music

Mariefaith Lane — Thu, 18 Sep 2025 11:44:34 +0000

“Always a Flutist” celebrates flutes, community and music Mariefaith Lane Thu, 09/18/2025 - 05:44

Adam Goldstein

Christina Jennings continues to marvel at the deep, existential roots of the flute.

It’s an instrument that has long been part of the human creative process, stretching all the way back to the prehistoric discovery that music can emerge from a simply carved piece of bone or wood. “The flute is humankind’s oldest instrument,” says Jennings, professor of flute at the College of Music. “We’ve been playing flutes for thousands of years.”

Those deep, ancient ties will be on full display on the upcoming “Always a Flutist” Faculty Tuesdays recital, Sept. 23, 7:30 p.m. in Grusin Music Hall. The program—titled “Threads of Silver, Ties of Gold”—celebrates the flute through community by showcasing the flute in solo, duo, quartet and a 50-member flute orchestra. In this reunion between Jennings and some 30 flute alumni, selections include Charles Ives’ “Unanswered Question,” Luciano Berio’s arrangement of Beatles songs and music of Helen Fisher, Dianna Link, Lowell Liebermann and others. Performers also include Jenning’s 16 current students and other collaborators—from talented area high school musicians to faculty and staff musicians from across campus.

Jennings kicked off this celebration of flutes, community and music in 2017 when she organized the first three-day iteration of the event that featured world-renowned flutists Sir James and Lady Galway. This year’s two-day gathering reflects the same spirit.

“The festival in 2017 was my way of inviting alumni back, and inviting the Colorado flute community to create a ‘We love the flute’ gathering,” she explains. “It was incredibly successful and seeded the idea for doing something else.

“Since 2017, even more so since the pandemic, what’s become the central core value to who I am as a teacher is the idea of centering community.”

As Jennings celebrates her 20th year on the College of Music faculty, next week’s “Always a Flutist” event also includes non-public opportunities for teachers, former students and current student musicians to reconnect and network; but it’s the culminating Faculty Tuesdays recital that best unites all participants and our flute-loving audience members in a wide-ranging program.

“The program is basically pieces that I love,” says Jennings, adding that the final piece—Egemen Kesikli’s “Breathless”—will “bring everybody up on stage including some of my colleagues that only had a passing interest in flute in seventh or eighth grade. That gets back to the ‘Always a Flutist’ theme.”

The spirit of such a communal celebration is also a fitting tribute to Jennings’ impact on our college over two decades, and a meaningful opportunity for alumni—whose career paths have ranged from law to medicine to professional performance and beyond—to meet again in a shared love of a very old instrument.

“It has absolutely been a dream to be with this community, with these students … and to be in a place where I feel honored as an artist, and teaching a curriculum that honors the universal musician,” Jennings says. “I will always have something to say through the flute.”

On Sept. 23, the “Always a Flutist” Faculty Tuesdays recital celebrates the flute through community by showcasing the instrument in solo, duo, quartet and a 50-member flute orchestra. Performers include flute faculty, alumni and current students—as well as talented area high school musicians, and faculty and staff musicians from across campus!

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Grammy-nominated artist-in-residence Marco Pavé to showcase artistry, wisdom

Mariefaith Lane — Tue, 16 Sep 2025 11:09:13 +0000

Grammy-nominated artist-in-residence Marco Pavé to showcase artistry, wisdom Mariefaith Lane Tue, 09/16/2025 - 05:09

Kathryn Bistodeau

As artist-in-residence of our American Music Research Center (AMRC) and the CU Boulder Center for African & African American Studies, Grammy-nominated hip-hop artist, dramatist and writer Marco Pavé—stage name for Tauheed Rahim II—will showcase his artistry and wisdom through classes, workshops and a concert, Sept. 22-26.

AMRC Director Michael Uy notes that many College of Music students have been interested in a chance to engage with hip-hop. “When Marco Pavé reached out, I jumped at the opportunity because I knew of his participation as a cultural ambassador for the U.S. State Department,” says Uy. “He also came highly recommended as Georgetown University’s first hip-hop artist-in-residence.”

In preparation for classes that he’s guest teaching, Pavé asked students to listen to his Grammy-nominated work “Requiem for the Enslaved” which blends contemporary classical music with hip-hop. MORE

As artist-in-residence of our American Music Research Center and the Center for African & African American Studies, Grammy-nominated hip-hop artist, dramatist and writer Marco Pavé will showcase his artistry and wisdom through classes, workshops and a concert, Sept. 22-26.

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Trombone studio attends International Trombone Festival

Mariefaith Lane — Thu, 11 Sep 2025 12:40:10 +0000

Trombone studio attends International Trombone Festival Mariefaith Lane Thu, 09/11/2025 - 06:40

Kathryn Bistodeau

Following Tanner’s ITF solo recital on July 17, with CU Boulder trombone students (left to right): Luke Meredith, Jackson Franco, Corey Nance, Sam McDiarmid-Sterling, Madison Joy, Sterling Tanner, Alex Weeks, Ben Garcia, Wesley Shores, Mark Bennett, Abby Burford.

This summer, Assistant Professor of Trombone Sterling Tanner led a group of CU Boulder students to participate in the International Trombone Festival (ITF) hosted at Western University in London, Ontario.

The group performed at the festival, opening for Christian Lindberg, and attended numerous lectures, concerts and workshops over four days. While performance opportunities brought them to the festival, Tanner says the networking and bonding with the broader trombone community were additional highlights.

“It's not just about the playing and the level of their performance,” explains Tanner. “It's more about the people part, and the hang.

“Watching the students connect—sharing meals, grabbing coffee, playing duets and exchanging ideas—was inspiring. What’s most special for me is just seeing them flourish as humans in that environment.”

On July 18, the CU Boulder Trombone Octet opened for international trombone soloist Christian Lindberg (left to right): Ben Garcia, Abby Burford, Madison Joy, Corey Nance, Wesley Shores, Sam McDiarmid-Sterling, Mark Bennett, Scott Underwood.

CU Boulder was well represented with Tanner presenting a recital of his new solo album, ”Resonant Renaissance”; graduate student Corey Nance presenting with the ITA Student Council as its vice president; and Mark Bennett competing as one of three finalists in the Larry Wiehe Tenor Trombone Competition.

For Tanner, the experience felt full circle as his undergraduate professor was also present. “The first ITF that I attended was in 2013,” Tanner recalls. “I was lucky enough to be at the institution where it was hosted, Columbus State University. And my teacher, Bradley Palmer, was really a figurehead in the trombone community.”

As College of Music ITF participants readied for the festival, Tanner asked Palmer to conduct a piece on the students’ recital. “It was really special because when the students played the first piece, I’m standing backstage with my former teacher and he’s like, ‘Man, they sound really great. This is what you’ve always dreamed of, and I'm excited that you're getting to experience that now’,” Tanner shares.

He hopes to involve more students in the ITF in the future. For now, he’s excited to be getting back to work with his studio and building on the impact of their ITF experiences. “You never know what they picked up on—maybe it's something that's not even related to playing the trombone, you know? I'm excited to speak with the students as we get started and know like, okay, that really stuck with you? Maybe we should look into seeing how we can incorporate that here.”

Looking back on a fruitful summer, Assistant Professor of Trombone Sterling Tanner led a group of students to participate in the International Trombone Festival in London, Ontario! Learn about their impactful trip and Tanner’s full-circle experience.

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The Cleveland Orchestra residency returns

Mariefaith Lane — Thu, 04 Sep 2025 11:00:13 +0000

The Cleveland Orchestra residency returns Mariefaith Lane Thu, 09/04/2025 - 05:00

Kathryn Bistodeau

From Sept. 10-12, members of The Cleveland Orchestra will resume their biyearly collaboration with the College of Music that began over a decade ago—including a guest recital on Sept. 11, joined by College of Music faculty and students, and offering coachings, rehearsals, panel discussions on auditions and careers in music, and more.

Professor of Clarinet Daniel Silver describes the residency as a unique opportunity for students to observe and learn from professionals in the industry.

“No one gets into The Cleveland Orchestra unless they’re one of the very best,” he says. “People don’t win jobs like that because they’re lucky. So you’re really dealing with an incredibly high level of skill and artistry.

“This is a really wonderful group of people, too—they have a sense of humor. And they love coming to Boulder, meeting students and sharing what they know.”

Participating members of The Cleveland Orchestra will team up with their instrument’s faculty counterpart at the College of Music for studio classes, lessons and coachings. For Silver, a standout event on the schedule is a side-by-side rehearsal with the CU Boulder Symphony Orchestra.

“I think that’s one of the linchpins, because the orchestra is playing big orchestral repertoire—and not only do The Cleveland Orchestra members know these pieces well, but they’ve played them dozens of times in their lives,” he explains. “So they’re full of experience about the pieces, and how to be more artistic, responsive and professional in an orchestra at a high level.”

According to Silver, the impact of the residency on students is tangible: They come away fired up and eager to put their new ideas and advice into practice.

“Somebody who plays in an orchestra at this level all the time will bring insights, wisdom, suggestions, ideas about practice and approaches to the music that are unique—and that would be hard for our students to get anywhere else,” he says.

There’s also a personal connection for Silver, who grew up attending The Cleveland Orchestra concerts. “I used to hear the orchestra every week when I was in middle school and high school,” he reflects. “It took me a few years to realize when I would go other places and come back how fortunate I was. I’m looking forward to rekindling the connections to my hometown.”

Our gratitude to the 16 members of The Cleveland Orchestra who are joining us on campus this year:

Amy Lee, Associate Concertmaster
Stephen Rose, Principal Second Violin
Stanley Konopka, Assistant Principal Viola
Mark Kosower, Principal Cello
Maximilian Dimoff, Principal Bass
Mary Fink, Principal Piccolo | Flute
Frank Rosenwein, Principal Oboe
John Clouser, Principal Bassoon
Amy Zoloto, Bass Clarinet | Clarinet
Michael Sachs, Principal Trumpet | Cornet
Meghan Guegold, French Horn
Shachar Israel, Assistant Principal Trombone
Yasuhito Sugiyama, Principal Tuba
Paul Yancich, Principal Timpanist (retired)
Marc Damoulakis, Principal Percussion
Trina Bourne, Principal Harp

From Sept. 10-12, members of The Cleveland Orchestra will resume a biyearly collaboration with the College of Music that began over a decade ago—including a guest recital on Sept. 11, joined by College of Music faculty and students.

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In memoriam: Professor Emeritus Oswald Lehnert

Mariefaith Lane — Wed, 16 Jul 2025 17:53:44 +0000

In memoriam: Professor Emeritus Oswald Lehnert Mariefaith Lane Wed, 07/16/2025 - 11:53

Our College of Music community is deeply saddened by the recent passing—on June 24, 2025—of Professor Emeritus Oswald (Ozzi) Lehnert.

Virtuoso violinist, conductor and educator, Lehnert served on the CU Boulder College of Music faculty for more than four decades and as music director of the Boulder Philharmonic for nearly 25 years (1972-1996). Lehnert co-founded the renowned Pablo Casals Trio—named with Casals’ blessing—and shared stages across the globe with his pianist wife, College of Music Professor Emerita Doris Pridonoff Lehnert.

A memorial service and celebration of Lehnert’s life will be held at the Glenn Miller Ballroom on July 28, 11 a.m.

Make a memorial gift
In honor of Lehnert’s legacy as a teacher, performer, conductor and advocate for the arts—inspiring generations to come—the Lehnert family has established the Oswald Lehnert Endowed Violin Scholarship Fund.

Our College of Music community is deeply saddened by the recent passing of Professor Emeritus Oswald (Ozzi) Lehnert.

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Global Seminar livecasts piano recital from Paris to Denver

Mariefaith Lane — Mon, 14 Jul 2025 14:07:35 +0000

Global Seminar livecasts piano recital from Paris to Denver Mariefaith Lane Mon, 07/14/2025 - 08:07

Kathryn Bistodeau

Steinway & Sons Spirio, “the world’s highest resolution player piano.”
Photo: Steinway & Sons.

Professor of Piano Andrew Cooperstock loves all things French—the art, music, food and language—and he’ll soon combine that passion with his love for teaching and performing.

In partnership with CU Boulder Education Abroad, a brand new Global Seminar—Chamber Music Performance—will engage a dozen student participants in Aix-en-Provence, Marseille and Paris, France. Eight of the students traveling to France with Cooperstock are from CU Boulder and four are joining the class from the University of South Carolina.

From July 24 to Aug. 7, the seminar will offer students opportunities to perform chamber music across France—including a unique occasion for a local audience to experience the performers from half a world away.

“One of the concerts in Paris is going to be at the new Steinway & Sons gallery there,” explains Cooperstock. “The students will perform chamber music and then—in the second half of the program—just the pianists will each play a short piece on the Spirio Steinway.

College of Music students Juhyun Hwang (MM ’26, piano) and James Morris (DMA ’25, piano) rehearse for their Spirio piano duet at CU Boulder before traveling to France for a two-week Global Seminar.
Photo: Andrew Cooperstock

“A signal will be livecast from Paris to the Spirio piano in the new Steinway & Sons Denver location where audience members can hear the sound actually coming out of another Spirio piano, like a player piano—not from a speaker like a Webcast or Zoomcast or something.

“The sound is extremely accurate, so it should sound pretty much exactly like the Paris concert,” he adds.

In addition to the technologically remarkable Steinway recital, participating students will perform in a Baroque church in Aix-en-Provence and the American Church in Paris, among other venues, and rehearse great chamber music by American and French composers with talented peers. Students will also engage in guest master classes, studio classes and private lessons.

The students’ cultural immersion further includes French language lessons, a boat ride along the Seine, a trip to Notre Dame, a tour of the Institute for Research and Coordination in Acoustics/Music (IRCAM) and more.

“The support of Stephanie Pund and Sylvie Burnet-Jones from Education Abroad, College of Music Dean John Davis and the college’s administrative team were really instrumental in supporting this class and recognizing its importance. It’s a lot of work on everybody’s part but well worth it!”

Join us to experience the livecast recital at Steinway & Sons on July 28, 11 a.m. (56 Steele Street, Denver)!

On July 28, a new Global Seminar in France includes a special opportunity for local fans of the College of Music to experience a recital livecast from Paris to Denver with digital piano technology.

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American Music Research Center reflects on successful AY2024-25

Mariefaith Lane — Thu, 10 Jul 2025 17:32:49 +0000

American Music Research Center reflects on successful AY2024-25 Mariefaith Lane Thu, 07/10/2025 - 11:32

Kathryn Bistodeau

Friedel leads an archive tour as part of the AMRC’s spring Open House.

The American Music Research Center (AMRC) had a bustling year. With the introduction of a new director, Michael Uy, came new events, collaborations and opportunities to leverage our varied archives.

The AMRC, jointly housed by the CU Boulder College of Music and University Libraries, has an archive collection full of musical memorabilia; collection highlights include silent film music, big band artifacts and Colorado-specific research and manuscripts.

In February, the AMRC opened its doors to curious members of our community: Our Open House attendees were treated to a range of archival materials as well as a guided tour through the stacks to see where the collections are held. Megan K. Friedel, head of collections management and stewardship for the libraries’ Rare and Distinctive Collections (RaD), and A. R. Flynn, project archivist for the Glenn Miller Collection, helped organize the event and curate the selection of materials.

“The event that had the most significant impact on me was our Open House,” reflects Uy. “The initial idea was Josie Moe’s—as administrative and student services assistant for the College of Music, she noted that staff, faculty and students wanted more opportunities to see what was in the AMRC collections. With professors Friedel and Flynn, we were able to bring out Glenn Miller’s trombone, original and sketch scores by Dave Grusin and music compositions by Carrie B. H. Collins.” MORE

The American Music Research Center had a bustling year. With the introduction of a new director, Michael Uy, came new events, collaborations and opportunities to leverage our varied archives. Learn more and discover what lies ahead for the center!

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Maymester course brings Vienna’s history alive

Mariefaith Lane — Wed, 09 Jul 2025 13:58:12 +0000

Maymester course brings Vienna’s history alive Mariefaith Lane Wed, 07/09/2025 - 07:58

Kathryn Bistodeau

At the Café Landtmann, one of Vienna's classic coffeehouses.

“I was really fortunate to do quite a bit of international travel while I was an undergraduate,” recalls Professor of Musicology Robert Shay. “For me, that literally changed my worldview.” He aims to pass on such transformative experiences to College of Music students by way of his study abroad course—Vienna 1900: Music, Arts & Culture.

Shay taught a similar course earlier in his career, then brought the idea to CU Boulder and led his first cohort in 2023. This May, he led a group of upper-level undergrads to Vienna, Austria, to explore and experience its music, history, architecture and visual arts.

“We’re focusing on this idea that modernism in the arts burst on the scene around 1900 in Vienna—in some ways reflecting and maybe anticipating the crisis that was happening in Europe at the time, leading up to World War I,” Shay says. “I think it’s a very interesting course. There are certainly fun aspects, but we deal with some challenging topics as well.”

At the Vienna State Opera following a performance
of Richard Wagner’s “Das Rheingold.”

The Maymester course—offered in partnership with CU Boulder Education Abroad—included visiting museums showcasing works of Gustav Klimt, walking the Ringstrasse to admire Otto Wagner’s architecture, and enjoying a violin concerto by Erich Wolfgang Korngold featuring violinist Renaud Capuçon and the Vienna Symphony. Outside of academics, the class also enjoyed a traditional Viennese cafe and a meal at a winery.

“I’m impressed that the students were really into the interdisciplinary aspect of the course,” Shay shares. “I told them that, as a musicologist, my research is in the 17th century—but this is just a topic that I love and I view myself as kind of the senior student in our group. It’s an opportunity for me to keep learning about this topic every time I lead the course.”

Part of that interdisciplinary appreciation also derived from the mix of degree paths represented by the 11 course participants including BA, BM and BME music majors, three music minors and double majors in colleges across campus.

“Each group has its own chemistry,” Shay reflects. “This year, there were a small number of students who knew enough about what they were getting into—and who were fans of some of the artwork we experienced—that they were able to help lead us all in an enthusiastic direction.”

The group’s enthusiasm culminated at the Vienna State Opera where they experienced a performance of Richard Wagner’s “Das Rheingold.”

“We were all, I think, very excited at the end of the opera,” adds Shay. “It was a sold-out house—2,500 people—and as we were starting to leave, the audience kept clapping, bringing the cast out for its fifth bow, that kind of thing.

“Wagner, even though he died in the 1880s, was a big influence over this period—a controversial influence as well. I think the students really understood that, wow, this is something that’s special to be here for.”

Leopold Museum; the guide is explaining Gustav Klimt's "Death and Life."

This May, Professor of Musicology Robert Shay led a group of upper-level undergrads to Vienna, Austria, for a study abroad course titled Vienna 1900: Music, Arts & Culture. ��Ƶ18 where they went, what they learned and how the experience expanded their worldview!

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CU NOW unpacks the story of an opera legend

Mariefaith Lane — Mon, 09 Jun 2025 19:59:54 +0000

CU NOW unpacks the story of an opera legend Mariefaith Lane Mon, 06/09/2025 - 13:59

Kathryn Bistodeau

Photo credit: Kathryn Bistodeau

It’s that time of year again—CU Boulder’s New Opera Workshop (CU NOW) has taken over the College of Music, and the world of opera will never be the same.

Every summer, CU NOW hosts an extended workshop where graduate voice students and alumni have direct interaction with living composers and librettists to develop and perform their music over a few weeks—resulting in premieres at Houston Grand Opera, San Francisco Opera, Wexford Festival Opera and more. This year, CU NOW again welcomes composer and librettist Mark Adamo and his new work “Sarah in the Theatre” about the legendary American opera conductor, impresario and stage director, Sarah Caldwell.

“Other than the best acronym in the business, CU NOW serves as a laboratory—an incubator for pieces that are going to be produced and commissioned at some point,” Adamo says of the program founded in 2010 by Leigh Holman, the College of Music’s associate professor of opera and director of our Eklund Opera Program. “Generally, the composer and the librettist come in, and either they want to work out certain things musically that they haven’t tried before, or develop it dramatically. It’s a pretty flexible brief.”

Adamo has been a guest artist here before to workshop “The Gospel of Mary Magdalene.” The opera premiered in 2013 but Adamo wasn’t quite satisfied with the end product. He brought the work to CU NOW in 2017 to create a revised, compressed version that he says was transformational. “It was a great, great experience, I have to say. We had a fabulous time together. So I’m very grateful to be back,” Adamo says.

Hannah Benson, an Artist Diploma student in opera and solo voice, says the workshop was a draw for her attending CU Boulder. In her first year participating, she’ll play the lead role. “CU NOW is unique in that it’s such a good environment for learning, including how to be professional and how to work efficiently in some higher stakes,” she says.

Photo credit: Kathryn Bistodeau

Working on brand-new material offers CU NOW participants the opportunity to trust their instincts and try new things in a collaborative space. Benson notes the experience has helped her to break past mental boundaries and push the limit of her craft.

“The thing that’s the most different is that what we’re working on is tangibly new,” Benson says. “When you’re working on something that you’ve been with for a while, it can sometimes feel like it gets stale. With this experience, things are always changing.”

“Sarah in the Theatre” focuses on the real character of Sarah Caldwell (1924-2006)—the first woman to conduct the Metropolitan Opera, the second woman to conduct the New York Philharmonic, and chief conductor and artistic director of the Opera Company of Boston which she founded in 1959.

“A great figure, but one of the reasons that we may not know her so much today is that she never met a budget that she couldn’t blow through,” Adamo says of Caldwell’s well-documented financial mismanagement. “She could be thoughtless and negligent to her artists. It was all constantly a race between the genius and the demons.”

“Sarah in the Theatre” aims to explore what makes a show come to life by highlighting Caldwell’s collaborators behind the scenes. It tells the story of Caldwell’s incredible rise and fall, and offers an honest look at artistic geniuses and what they sacrifice for their art.

For Adamo, the heart of the show comes to one question: “How do you love someone who can do as much damage as they can do good?”

Join us for a semi-staged production of “Sarah in the Theatre“ on June 13 at 7:30 p.m. and June 15 at 2 p.m. in the Imig Music Building’s Music Theatre, N1B95. Performances are free and open to the public, and include a deep-dive, moderated talkback.

Every summer, the CU New Opera Workshop (CU NOW) hosts an extended workshop where graduate voice students and alumni have direct interaction with living composers and librettists to develop and perform their music over a few weeks. This year, CU NOW again welcomes composer and librettist Mark Adamo and his new work “Sarah in the Theatre” about the legendary American opera conductor, impresario and stage director, Sarah Caldwell.

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