Nyla Witmore, an eighteen year resident of Boulder, has been a professional artist for nearly twenty years. Primarily self-taught, she began studies at the contemporary art Museum School of the DeCordova Art Museum in Lexington, Massachusetts. Courses with Denver Art Students League and workshops with nationally known artist/teachers rounded out her training. Prior to becoming a full time artist, Nyla Witmore had enjoyed other careers: first, a brief career as a Speech and Hearing Therapist, then, after marrying her husband, Gerry, she embarked on a career as full time homemaker and mother of two sons. In the late 1970’s she took adult education classes in writing and became a free-lance newspaper/magazine journalist and author of three published inspirational, “how-to” books. Of all her careers, she says the art career is her favorite.

Nyla paints realistically and abstractly but is best known for traditional “intimate landscapes” of her travels abroad, most prominently France and Italy.  In painting abstractly to live music, Nyla believes it is ultimately the best way to show the “duet qualities” of the two.”  She urges the audience to keep in mind that one is observing the process of painting rather than focusing on a finished product.

Having a strong musical background, Nyla believes, has also been an advantage.  Her earliest musical influences came from having studied classical piano for twelve years, beginning when she was six. During her high school years she added flute, piccolo and organ to her studies. Although she did not pursue a career in music, she has always continued to play piano for her personal pleasure and for decades has enjoyed having a hundred and twenty-five year old piano her husband gave her when she they were expecting their first child. “The discipline of studying music as a young person,” says Nyla, “is what gave me the tenacity and work habits to keep at my art and painting for five to seven hours work days.  After all, success is about perseverance and passion.”

Visit her website at: www.nylawitmore.com

On October 6th, 7th and 13th, 14th, one hundred and forty of the finest visual artists in Boulder opened their studios to the public in celebration of the 13th Anniversary of Open Studios.  These artists, who work with a variety of media - including sculpting, woodworking, painting, photography, ceramics and more - will open their private studios for self-guided tours.  Go to www.openstudios.org or call 303-444-1862 for more information.

Nyla Witmore
October 13, 2007
Visual Fusion

Nyla Witmore's interpretation
of Strauss's Tod und
Verklärung painted live at Macky Auditorium on October 13, 2007.

Michael Allen is the principal tuba of the Boulder Philharmonic Orchestra, Central City Opera Orchestra, and Colorado Ballet Orchestra.  He is first call low brass specialist for Denver Center Attractions performing on tuba, bass trombone and euphonium for shows such as the Lion King, Beauty and the Beast, Showboat, Ragtime, Camelot, Crazy for You, Thoroughly Modern Millie to name a few. He has also performed with the Colorado Symphony, Denver Symphony, Colorado Springs Philharmonic, Dallas Chamber Orchestra, Denver Chamber Orchestra, and the Dallas Brass. 

Michael is founder, executive director and artistic director of the Boulder Brass – an 11 piece professional brass ensemble.  Under his leadership, the Boulder Brass has enjoyed fifteen years of concert series productions including four national concert tours and three critically acclaimed recordings.

From 1990 to 2004, he was a member of the faculty at the University of Colorado at Boulder College of Music as professor of tuba and euphonium.  While at the University of Colorado, he was coordinator of the brass chamber music program, developed and taught courses in arts administration and the music business, gave numerous lectures on audience development and managing performing arts organizations, and served on faculty committees with oversight on budget, curriculum, and faculty affairs.

An accomplished arranger and orchestrator, Michael has arranged and published over 200 works for brass quintet and brass ensemble.  Recently, his arrangements have been performed and  recorded by the Canadian Brass, Burning River Brass, Boulder Brass and the Summit Brass.  The Canadian Brass along with colleagues of the New York Philharmonic and the Philadelphia Orchestra have performed his arrangements on annual Christmas programs at Avery Fisher Hall and the Academy in Philadelphia.  Other performance and recording credits include the Dallas Brass, Michigan Chamber Brass, Saint Louis Symphony Brass Ensemble, Nashville Symphony Brass Ensemble, and the New York Big Brass.

Michael has served as music copyist for numerous artists including the Moody Blues, Kansas, Three Dog Night, Al Jarreau, Michael Bolton, and the Paul Winter Consort.  Three of these shows were recorded by the London Symphony Orchestra at legendary Abbey Road studios.  The orchestra parts he prepared for the Paul Winter Consort were used during a special broadcast with the Boston Pops Orchestra on PBS.

Jazz pianist Marcus Roberts is from Jacksonville, Florida and his music has always been influenced by the early exposure to his mother's gospel singing and the music of the local church. Marcus lost his sight at age five. His parents bought him a piano when he was eight years old and he was self-taught for four years. During that time, he played in the local Baptist church every Sunday. When he was twelve years old, he started his first formal piano lessons. He decided that he wanted to be a jazz pianist after listening to the music of Duke Ellington, Benny Goodman, Mary Lou Williams and others on the radio.

After graduating from high school, Roberts left Jacksonville to attend Florida State University (FSU) where he studied classical piano with Leonidus Lipovetsky, who had been a student of the noted Russian piano teacher Rosina Lhevinne. While at FSU, Roberts won his first of many awards and competitions (the young artist's competition at the 1982 National Association of Jazz Educators annual conference). The next year he won the Great American Jazz Piano Competition, followed by first prize at the Thelonious Monk International Jazz Competition in 1987. He was honored to receive a National Academy of Achievement award in 1995 and, in 1998 he received the award that he considers his highest honor, the Helen Keller Award for Personal Achievement. In 2003, Roberts was inducted into the Jacksonville Jazz Hall of Fame.

In 1985, at age 21, Roberts joined Wynton Marsalis' band and toured and recorded with the trumpeter for the next six years.

Marcus Roberts first performed as a soloist with symphony orchestra in 1992 and since that time, he has performed often with orchestras all over the world. In the summer of 2002, Roberts was honored to participate with his trio in the gala farewell weekend of concerts with Maestro Seiji Ozawa and the Boston Symphony Orchestra at Tanglewood. In 2003, Roberts premiered his new arrangement of Gershwin's Concerto in F for Piano and Orchestra in Japan with the New Japan Philharmonic and then in Europe, with the Berlin Philharmonic for their annual Wäldbuhne concert. The performance with the Berlin Philharmonic was recorded and released (A Gershwin Night) in DVD format. In 2005, Roberts and his trio traveled to Matsumoto, Japan to perform and record the concerto (Decca Records, 2006) with the world-renowned Saito Kinen Festival Orchestra once again under the direction of Maestro Seiji Ozawa. During that recording session, Hurricane Katrina struck the Gulf Coast of the U.S., leaving his Louisiana-based trio members in limbo. Drummer Jason Marsalis has still be unable to return to his home in New Orleans. After returning to the U.S., Roberts and Marsalis along with bassist Rodney Jordan flew to New York to perform at the televised hurricane benefit concert and DVD recording session ("Higher Ground") to help other Louisiana musicians to get back on their feet.

The Marcus Roberts Trio was founded in 1993 when Roberts began to study the lineage of great jazz trios, including those of Nat Cole, Oscar Peterson, Errol Garner, and Ahmad Jamal. The Trio consists of Marcus Roberts (piano), Roland Guerin (bassist), and Jason Marsalis (drummer). Roberts first met young drummer Jason Marsalis during his own days in the Wynton Marsalis Septet in the 1980s. Jason was just 10 years old at that time. With the founding of the Marcus Roberts Trio, Roberts had the goal of creating a whole new style of jazz trio playing. After trying a series of drummers and bassists over a two-year period, Roberts in late 1994 asked Marsalis, then only 17 years, to join his band. A few months later, in early 1995, Roland Guerin played with Roberts for the first time and from the beginning, he made the trio sound complete. The philosophy and style of trio has steadily evolved from that point.

The Marcus Roberts Trio has truly created its own sound and style. Although the piano has traditionally been the central focus of great jazz trios, Roberts prefers to have all musicians in the group share equally in shaping the direction of the music through changing its tempo, mood, texture, or form by using a system of musical cues. This philosophy is ideally suited for this trio because both Roland Guerin and Jason Marsalis possess immense talent as individuals while sounding equally great as a unit. As a consequence, Roberts feels that the music should be arranged to showcase that talent. When the bass and drums share equally in controlling both the tempo and the mood of a piece, it creates a musical environment that sounds much bigger on the stage than a jazz trio.

Luis González's compositions for orchestra, chamber ensembles, choir and solo instruments have been performed in concert halls and festivals of Europe, the USA, South America, and Japan. His works have been presented at the International Forum of Composers in Paris, France (1991,1985, and 1991): some of his compositions have been published by Belwin Mills, Sounding Solitudes Press, Don Henry Music (USA) and Bérben (Italy). He has recordings on Opus One Label, New Arts Recordings, Lejos del Paraíso (Mexico) Consejo Argentino de la Musica Collection.

González has received many prizes and awards, among them: a Guggenheim Fellowship (1978-79); two First Prizes from the International Composition Competition of the Percussive ARts Society, USA (1975 and 1979); prizes from "Fondo Nacional de las Artes", Argentina (1975 and 1976); Third Prize from the Wieniawski International Competition, Poland (1976); Premio di Composizione Sinfonica Cittá di Trieste, Italy (1978); from Radio France International Guitar Competition (1984). Premio Trinac- from the National Tribune of Composers of Argentina- (1980, 1981, 1987, 1989, 1991, and 1993), American Harp Society, USA (1986), the Faculty Arts Award from the University of Colorado (1990), Faculty Fellowship from the University of Colorado (1995) International Society of Bassists (1997) and University of Colorado Award for Creative Work (1999).

He has received commissions from Universidad Nacional de San Juan (Argentina), Austin Music Festival, Shapleigh Foundation, Encuentros con la Musica Contamporanea (Argentina), Arvada Center for the Arts and Humanities, Cosanti Foundation, North/South Consonance, Colorado Music Festival, University of Northern Colorado, Sociedad Mexicana de Arpa, University of Kentucky, American Guild of Organists, the Dale Warland Singers and some internationally renown soloists.

González has his Master of Music and Doctor in Musical Arts degrees from the Peabody Conservatory of Music, Baltimore.

González has taught theory at the Peabody Conservatory in Baltimore and theory and composition at the University of San Juan Argentina. At the present time he is Emeritus professor of the Unviersity of Colorado at Boulder, USA, where he taught composition and theory from 1981 until 2003.

Since winning the 1998 Gold Medal of the prestigious International Violin Competition of Indianapolis, Judith Ingolfsson has established herself world-wide as an artist of uncompromising musical maturity, extraordinary technical command and charismatic performance style.

A native of Iceland, Judith Ingolfsson made her debut as orchestral soloist in Germany, at the age of eight. In the United States, she has been heard with The Philadelphia Orchestra, Indianapolis Symphony Orchestra, Saint Louis Symphony Orchestra, Washington's National Symphony Orchestra and The Chamber Orchestra of Philadelphia, as well as the orchestras of Austin, Binghamton, Dayton, Grand Rapids, Kalamazoo, Louisville, Memphis, New Haven, Omaha, Pacific, San Diego, South Carolina, Vermont, Victoria, West Virginia and Wichita; and she has collaborated with many of the acclaimed maestri of our time, including Jesus López-Cobos, Raymond Leppard, Wolfgang Sawallisch, Gerard Schwarz and Leonard Slatkin. Ms. Ingolfsson was also heard as soloist with the Iceland Symphony Orchestra on its 2000 15-city North American tour, highlighted by a performance at New York City's Carnegie Hall, while, abroad, her engagements have included the Czech Republic's Bohemian Chamber Philharmonic Orchestra, Russia's Saratov Philharmonic, Royal Chamber Orchestra of Tokyo and Budapest Philharmonic Orchestra, with which she recorded the Tchaikovsky Violin Concerto for the orchestra's BPO Live label.

Judith Ingolfsson's recital performances have taken her throughout the United States and around the world: National Gallery of Art in Washington, DC, Cleveland Institute of Music, La Jolla Chamber Music Society, Reykjavík Arts Festival, Pro Arte Musicale of Puerto Rico, La Asociación Nacional de Conciertos de Panamá, Macao Cultural Center and Tokyo Metropolitan Art Center. With pianist Vladimir Stoupel, she has performed in Germany, Italy and on Brooklyn's famed Bargemusic series. An avid chamber musician, she has collaborated with the Avalon and Miami String Quartets and the Broyhill Chamber Ensemble, and has appeared, both on tour and at Lincoln Center for the Performing Arts' Alice Tully Hall, with the Chamber Music Society of Lincoln Center Two. Her festival appearances include the Appalachian Summer Festival, Cape and Islands Chamber Music Festival, Grand Teton Music Festival, Finland's Kuhmo Chamber Music Festival, Germany's Bodensee Festival, Switzerland's Menuhin Festival and the Orlando Festival in The Netherlands.

Judith Ingolfsson has frequently appeared on radio and television broadcasts, beginning with a performance on Icelandic TV at the age of five. Since then, she has been seen on PBS, "CBS Sunday Morning" and Japan's National Broadcasting Company (NHK). In 1999, National Public Radio's "Performance Today" named her "Debut Artist of the Year" for her "remarkable intelligence, musicality, and sense of insight." She is also the recipient of the 2001 Chamber Music America/WQXR Record Award for her debut CD for Catalpa Classics, featuring a varied program ranging from Bach to Ned Rorem.

At the age of 14, Judith Ingolfsson was admitted to The Curtis Institute of Music in Philadelphia, where she pursued studies with the legendary violinist and pedagogue Jascha Brodsky. She went on to earn her Master's degree from the Cleveland Institute of Music as a student of David Cerone, and continued her graduate studies at the same institution while working with Donald Weilerstein. Prior to her triumph at the Indianapolis Competition, Ms. Ingolfsson, who began violin studies at the age of three, was a prize-winner at the Concert Artists Guild Competition in New York City and the Paganini International Violin Competition in Genoa, Italy.

In 2006, Judith Ingolfsson was appointed to the faculty of the College of Music of the University of Colorado at Boulder.

Specializing in a cappella music of the Renaissance and the 20th and 21st centuries, the Ars Nova Singers of Boulder, Colorado are presenting their 22nd concert season in 2007-2008. The semi-professional ensemble conducted by founding Artistic Director Thomas Edward Morgan is composed of 40 selectively auditioned choral musicians from the Denver/Boulder metropolitan region. In its history, the Ars Nova Singers has presented over 250 performances of more than 100 different concert programs.

    The ensemble has received significant national recognition: the Aaron Copland Fund for Music selected the Ars Nova Singers for funding in 2003 and 2004. The Performing Ensembles program of the Copland Fund supports organizations whose performances encourage and improve public knowledge and appreciation of serious contemporary American music. The ensemble has also been funded by the Chorus Program of National Endowment for the Arts.

    The musical accomplishments of the ensemble range from performances of the complete Responsoria by the eccentric late Renaissance composer Carlo Gesualdo to the premiere of new works by many Colorado and other American composers. In September, 2002 the ensemble premiered a major new work, I Heard a Voice, composed by Thomas Edward Morgan and New York visual artist Lesley Dill. The project has subsequently been presented internationally: in June of 2003, the Ars Nova Singers performed the piece at the Evergreen Cultural Centre in Coquitlam, British Columbia.

The choir has participated in numerous commissioning and new music projects, performing new works by Libby Larsen, Stephen Paulus, Luis Jorge González, Jan Gilbert, R. Anthony Lee, and Terry Schlenker. The ensemble has recently joined in a consortium commission of the 2005 Pulitzer Prize-winning composer Steven Stucky.

    The Ars Nova Singers have been heard in radio broadcasts throughout the United States, Canada, South America, Australia, Japan, and Europe, including such National Public Radio programs as The First Art, Music from the Hearts of Space, and locally on Colorado Spotlight and Colorado Matters.

    Ars Nova has released eight independent recordings on compact disc, and performed on seven internationally released recordings with Boulder composer and instrumentalist Bill Douglas.

One of the Rocky Mountain region's most celebrated and sought-after artists, Marcia Ragonetti has been associated for over two decades with Opera Colorado in such roles as Cherubino, Rosina, Cenerentola, Amahl's mother, the Beggar Woman, to name just a few of her many memorable characterizations.  In 2005 she helped inaugurate Denver's Ellie Caulkins Opera House in its star-studded gala, headlined by Renée Fleming and Ben Heppner. She also appeared at "The Ellie" as Mércèdes in Opera Colorado's Carmen with Denyce Graves. In the summer of 2006, she received critical praise for her "emotive, haunting" portrayal of Empress Ottavia in Monteverdi's The Coronation of Poppea with Central City Opera. Collaborations with the Colorado Symphony and Central City Opera saw her as  Katisha in The Mikado , Ruth in The Pirates of Penzance and the Second Lady in The Magic Flute.  Recently branching out into musical theatre, she appeared as the desirable Desirée Armfeldt in Opera Fort Collins' 2006 production of A Little Night Music.  With that same company, she appeared in the title role of Carmen  in 2005.

In 2007 she debuted as Maddalena in Rigoletto for Fargo-Moorehead Opera, Madame Popova in Sir William Walton's The Bear with Longleaf Opera in Chapel Hill, North Carolina, and continues to portray her highly acclaimed Augusta Tabor in Highlights of The Ballad of Baby Doe, originally created for Opera Theatre of the Rockies in Colorado Springs and later presented for six years straight in the Historic Tabor Opera House in Leadville as well as once in Aspen's Wheeler Opera House.  She added stage director to her credits with a 2002 production of Gianni Schicchi  for Opera Theatre of the Rockies and has continued to stage opera scenes for various companies. 

Recent concert work includes opening the past three consecutive seasons of the Colorado Springs Philharmonic with the Verdi Requiem (2005) Beethoven's Missa Solemnis ( 2006)and Beethoven's Ninth Symphony (2007), Lawrence Leighton Smith conducting.  Her concert repertoire is vast and wide-ranging including Mozart (Great Mass in C minor, Requiem), Handel (Messiah),  Einhorn (Voices of Light), Falla (El amor brujo) , Rossini (Stabat Mater)  -- all with the Colorado Symphony Orchestra -- Bach (St. Matthew Passion, B-minor Mass),  Berlioz (La Damnation de Faust), Weill (The Seven Deadly Sins) and Sibelius (The Tempest). She has also been  a soloist with the San Antonio Symphony, Utah Symphony, Cheyenne Symphony, Grand Junction and Greeley Philharmonics.  In 2008 she is scheduled to sing Prokofiev's Alexander Nevsky with the Boulder Philharmonic as well as a Leroy Anderson pops concert with the Colorado Symphony Orchestra, Carl Topilow guest conducting.

As a skilled vocal coach and mentor, she has appeared as an "informance" artist with such organizations as Central City Opera (where she is a member of their select "Ensemble), the Vail Symposium, VIVA! Adult Education at the University of Denver, the Central City Opera Guild, the Lincoln Center teacher training program, and the prestigious Vocal Arts Symposium at Colorado College. She served for a decade as an executive board member for Young Audiences, Inc., appearing in and creating countless outreach programs during that time.  She also currently serves  in an advisory capacity on the boards of The National Center for Voice and Speech at the Denver Center for Performing Arts, the University of Colorado's voice program, and The Center for American Theater at the Historic Elitch Garden Theatre. She is a Phi Beta Kappa graduate of Cornell University with advanced degrees in English and psycholinguistics.

Marcia Ragonetti
February 16, 2008
Cinematic Fusion

Robert Sher-Machherndl founded Lemon Sponge Cake Contemporary Ballet in 1999. The vision of this contemporary ballet company has always been to bring energy and fresh ideas to audiences and to the dance world. Sher-Macherndl's choreography is the exploration of contemporary pointe technique. It is to push the limits of what is possible with classical technique. To experiment and explore contemporary pointe with modern movements against a collage of music, it is to show the unexpected. To bring this classical art form into the twenty-first century, allowing it to be a vital living medium, one that is able to change and evolve, one that is able to express entirely contemporary concepts and realities.

Robert Sher-Machherndl, a professional dancer with 25 years experience from principal dancer, choreographer, teacher to artistic director. He has been granted the privilege of US Visa Type, ‘Alien of Extraordinary Ability’ allowing permanent residence in the US.

Robert has worked with and danced the works of Rudolf Nureyev, Jiri Kylian, Hans van Manen, Ulysses Dove, George Balanchine, Sir Fredrick Ashton, Rudi van Dantzig, John Neumeier, Ed Wubbe, Ben Stevenson, Maurice Bejart and John Cranko. As principal dancer, Robert danced leading roles for Dutch National Ballet and Bavarian State Ballet including, Swan Lake, Giselle, Romeo and Juliet, Onegin, Cinderella, Sleeping Beauty, Apollo, Stravinsky Violin Concerto, Serenade, Symphony in C, Diamonds, Concerto Barocco, Agon, La Valse, Divertimento No. 15 (Mozart). He has danced for Nederlands Dance Theater. He has partnered American ballerina Jolinda Menendez of the American Ballet Theater and Canadian ballerina Evelyn Hart of the Royal Winnipeg Ballet. Robert was featured in the documentary ‘Moment of Light’, a story about Evelyn Hart. He has been on the cover of Dance Magazine when he performed with Bavarian State Ballet at the Lincoln Center, NY.

Robert was Co-Director of Salzburg Ballet and Assistant to the Artistic Director, Ed Wubbe at Scapino Ballet Rotterdam. He has taught at the Ballet Rambert and for Matthew Borne‘s production of ‘Swan Lake’. Robert’s work has been featured in Young Choreographers Workshops at the Bavarian State Ballet and Scapino Ballet Rotterdam. He has choreographed for Salzburg Ballet, Colorado University at Boulder, Colorado State University, Cleo Parker Robinson Dance Ensemble, Canyon Concert Ballet, Boulder Ballet, David Taylor Dance Theater, Ballet Nouveau and Lemon Sponge Cake Contemporary Ballet.

As artistic director of Lemon Sponge Cake Contemporary Ballet, Robert has choreographed and directed the full-length ballets; UnCut; Point; PlastikPaket; StrangeLands; LoveCrimes; AustriaPop; Where Is The Love; Vertigo; Le Ballet Star; TigerLilly and Anilla.

St. Martin's Chamber Choir, led by founder and Artistic Director Timothy J. Krueger, is a professional ensemble of 22 balanced voices.  The choir was founded in 1994, and takes its name from the site of its first concerts, St. Martin's Chapel at St. John's Episcopal Cathedral in Denver, Colorado.  St. Martin's Chamber Choir is not affiliated with any church or denomination.

Current and previous concert programs are drawn from a cappella choral literature which spans the centuries, from Renaissance motets, through 18th century Baroque and Classical works and Romantic-era partsongs, to masterworks of the 20th century and new pieces composed expressly for St. Martin's.  The choir also presents the Anglican service of Choral Evensong at churches throughout Denver and the Front Range.

Most of the music performed by St. Martin's is for unaccompanied voices. The choir has developed a beautiful, distinctive sound, and its singers are selected in part for their ability to blend with each other. Modeled after the sound of English cathedral choirs, the choir sings with a minimum of vibrato, creating a pure, luxuriant tone.

Under Mr. Krueger's leadership the choir has released seven acclaimed CD recordings which have been featured on the nationally syndicated radio program "The First Art" and on classical radio play lists across the U.S.  Through its concerts and recordings St. Martin's has become recognized as the region's foremost chamber choir.

In 2007, the Colorado Shakespeare Festival turns fifty. Officially established in 1958 as a project of the English and Humanities departments at the University of Colorado, Boulder, the festival’s roots actually reach back at least 105 years to the earliest days of the university. Over the last half century, the festival has evolved from a group of ten actors and a tiny volunteer production crew to a company of full-time administrative staff members and some 180 summer company members. The festival is now categorized as a self-funded activity of the College of Arts and Sciences and receives its non-profit status through the University’s Foundation. Its audience is derived from the same group of theatregoers who attend the Denver Center Theatre Company and other Equity theatres in the Denver/Boulder metro area, as well as from visitors across Colorado and around the world. CSF’s primary venue is the WPA-era Mary Rippon Outdoor Theatre, an architectural treasure valued for its beauty and historic significance, but as many playgoers will attest, somewhat lacking in amenities and creature comforts.

The golden anniversary season (to be celebrated over 2007 and 2008) will change that. Philip C. Sneed, who took the position of producing artistic director in the fall of 2007, intends to build on his predecessors’ successes, retaining Shakespeare as CSF’s gold standard and adding other classical and contemporary plays. From a repertory of three full-length productions and one shorter play, Sneed intends to increase the number of plays to six full-length productions—five to be performed in the summer and one during the holidays. In 2007, the summer season, June 22 – August 18, will include A Midsummer Night’s Dream, Around the World in 80 Days (adapted by Mark Brown), The Servant of Two Masters by Carlo Goldoni, All’s Well That Ends Well, and Julius Caesar. The holiday show (December 7 – 24) will be A Child’s Christmas in Wales, an adaptation of Dylan Thomas by Philip Sneed and The Foothill Theatre Company, Nevada City, California.

Other significant changes include increasing the number of Equity contracts and establishing early curtain times—6:30 pm on Tuesdays and Sundays. In addition, CSF is working with Kierkegaard Associates on acoustic enhancement for the Mary Rippon and has established $5.00 ticket prices for children ages 5 – 12 and half-price tickets for teens 13 – 17. More comfortable seating and enhanced food service are on the agenda. And a new logo and graphics standards designed by CommArts, an internationally known branding and corporate design firm, will give this venerable festival a bit of a facelift.

Boulder Ballet
November 23-25, 2007
The Nutcracker