SHARPS & FLATIRONS: CU Now Rewards Audiences, Composers, and Performers
Adamo’s Gospel of Mary Magdalene is getting an intimate makeover
CU NOW, the University of Colorado Eklund Opera Program’s annual New Opera Workshop, is one of the most rewarding events on the Boulder classical music scene.
It is an opportunity to see how operas are put together. It is an opportunity to hear new works, often before their professional world premieres, and possibly, through feedback sessions with the composer, to influence the final product. And falling between the end of the main music season and the beginning of the summer festivals, it comes at a time when the classical scene is starting to get dry.
And that’s just the benefits for the audience. It almost goes without saying that the composer has the reward of seeing his work in an informal setting, where he can tweak the score and make improvements, and the singers reap the reward of learning a new work and preparing it for the composer. I count that a win-win-win.
Usually a workshop for completely new works, the NOW program goes in a different direction this year. Composer Mark Adamo is in Boulder to re-work his Gospel of Mary Magdalene, which was premiered by the San Francisco Opera in 2013 (under conductor Michael Christie, known locally for his years at the Colorado Music Festival). Following the somewhat controversial premiere, Adamo decided to revise the opera to make it smaller in scope than the San Francisco production, more intimate, more human.
Or as he was quoted in the CU press release, he wanted the show to be “more witty and modern, a lot closer to Godspell.”
Complete performances of the re-worked Gospel of Mary Magdalene will be free and open to the public, 7:30 p.m. Friday and 2 p.m. Sunday in the Imig Music Building Music Theater. The cast and ensemble of CU students and alumni will be accompanied by piano and harp.
Knowing the history of CU Now, Adamo says he was unsure about bringing a work that had already had a premiere, and a grand one at that, to Boulder. “Leigh (Holman, director of the Eklund Opera Program) talked to me about this, because ordinarily CU NOW does pieces before they’re given a premiere,” he says. “I wanted to revisit this because I’m not sure that the show that we staged (in San Francisco) was entirely the show that I meant. (Read the Full Article)