What did Ellie Caulkins do on Saturday night as everyone else sang the praises of the $92 million opera house that bears her name?
She sang too, although her words didn’t have a thing to do with architectural specifics or phrases comparing the handsome new venue to what it used to be: a utilitarian facility that had hosted everything from a Democratic National Convention to high school graduations and professional boxing matches.
While patrons were buzzing about how the Ellie has catapaulted Denver into the operatic big leagues, Caulkins was being positioned with the Opera Colorado Chorus to sing during an excerpt from “Nobuku” that was part of a star-studded concert attended by dignitaries from throughout the world.
And depending on how well you know her, that she would appear onstage as 2,280 people looked on was either a jaw-dropping surprise or something that brought a knowing smile. But, as patron Valerie Starke observed, “This is her night, and how neat for her to be up there in her gorgeous green gown amidst all that traditional chorus black, singing her heart out and having a ball. She’s just the person you want something wonderful like this to happen for.”
Caulkins, in fact, defies every stereotype associated with titles like philanthropist, benefactor or patron of the arts. She didn’t come to enjoy opera until she took an appreciation class at the University of Denver in the 1970s; until that point, she had regarded it as “screeching and awful.”
The class ignited a passion that led to a 20-year tenure on the Metropolitan Opera board in New York. She chaired its National Council and was named lifetime honorary chair of the Opera Colorado board in honor of her years of devoted service to that organization.
Her family gave $7 million toward the Ellie’s completion and its opening was one of Denver’s grandest nights. From a goosebump-inducing audience singalong of the National Anthem to the Peter Duchin Orchestra’s rendition of the Wilson Pickett rock ‘n’ roll classic, “Mustang Sally,” “People are going to be talking about this party long after we’re dead and gone,” said retired pilot Gary Ray.
Festivities began with champagne and canapes for 600 of the night’s big-ticket holders. Following the performance, they reassembled for a filet of beef dinner served in the hall’s public spaces, then brought the evening to a close with dessert and dancing on the stage.
“Opera Colorado may be small, but this proves we’re mighty,” added Marcia Robinson, who chaired the opening festivities with Caulkins’ nine-months-pregnant daughter, Mary.
The event raised about $500,000 for the Opera Colorado Foundation, whose president, Charles Kafadar, underwrote the installation of the new hall’s seat-back titling system as a tribute to his wife, Ursula, a longtime Opera Colorado benefactor and volunteer. The Kafadars (he’s the former CEO of OEA, which manufactures triggering devices for automobile airbags) were there with their children, Kim, who, after earning her Ph.D. from Stanford University, is a postdoctoral fellow at Emory in Atlanta; and Paul, a law student at Northwestern.
“Who would ever dream they’d walk into a $92 million opera house in Denver?” asked Jeremy Kinney, a former chairman of the Opera Colorado board who remembers when co-
founder Nat Merrill “had to bribe the stars with lift tickets for Aspen” to get them to sing with his fledgling company. “This brings us into the 21st century, right up there with La Scala and Covent Garden. It’s probably the best opera house in the world, and everyone is going to want to sing here.”
Vicki Aybar, associate director of the Denver Art Museum, and husband attorney Harry Sterling recalled that they had their first date at what was then known as the Denver Auditorium Theatre, taking in a Colorado Ballet performance.
Haojiang Tian and Stephen West both launched successful operatic careers in Denver and returned to help christen the hall. Tian, now with the Met in New York, said he was amazed by the hall’s “unbelievable energy” and excellent acoustics. “I was impressed from the first moment I opened my mouth,” Tian said.
West, who had sung in “Aida,” Opera Colorado’s very first offering, in 1976, also was amazed by the contrast. “Back then it was the old Auditorium Theatre,” he said, “a pretty dark and depressing spot. Nothing at all like the beautiful facility we see here today.”
Society editor Joanne Davidson can be reached at 303-809-1314 or jmdpost@aol.com.
