The conductor wants to build a relationship with the orchestra
By Peter Alexander
Jean-Marie Zeitouni, the new music director of the Colorado Music Festival, finds Boulder a very comfortable place to fit in and make friends.
Just don’t call him “maestro.”
He made this clear when he introduced the 2015 festival season Thursday evening (Feb. 26) at the Chautauqua Community House. “You can call me Jean-Marie or JMZ,” he said. “You can call me many things behind my back. But don’t call me maestro.”
When asked about that a couple of days later, he shook his head and made a sour face. “No,” he said. “I have played in an orchestra. There is not one master and the rest are slaves.”
This experience as an orchestra member is a very important part of the way Zeitouni thinks about his job here in Boulder. “I try to be the conductor I would want as a member of the orchestra,” he says. “The greatest goal for me this year (at the Colorado Music Festival) is to develop my relationship with the orchestra.”
One part of that relationship is to be found in the repertoire that Zeitouni, as music director, selects for the players, as members of the orchestra, to rehearse and perform. And in the season that was announced Thursday night, Zeitouni has included pieces that the musicians may be expected to relish.
For example, in addition to the usual Beethoven and Tchaikovsky and Sibelius symphonies, which the orchestra members have probably played many times, there are pieces such as Charles Ives’s Symphony No. 3 and Michael Daugherty’s Deus ex Machina that are outside the standard repertoire.
Surely some of the orchestra members will look forward to the French Baroque music of Jean-Philippe Rameau’s Les Boréades. A rarity like George Antheil’s Jazz Symphony will have its advocates. And next to the perennially popular American in Paris there is the rare opportunity to play Darius Milhaud’s response, A Frenchman in New York.
But probably nothing will be more exciting for the players than Bartók’s Bluebeard’s Castle. As with much of Bartók’s orchestral music, this is a virtuoso score that gives the players a chance to really show their worth. Although it has two singing characters, Zeitouni describes Bluebeard’s Castle as “an opera where the orchestra is the main character.” (It will be performed in Hungarian with English surtitles.)
Indeed, Zeitouni and CMF executive director Andrew Bradford confirm that they have already heard from members of the orchestra that this is the piece that they are most looking forward to.
Zeitouni, who lives in Montreal, will spend the summer in Boulder with his family. He readily cites Boulder’s concern for health, the environment, and the presence of many different cultural—and counter-cultural—elements as aspects of the city that he likes. “Like in Canada, you can be whoever you are,” he says. “I feel comfortable here.”
“It reminds me of the places I have been most joyous, in the Rockies of Canada, especially Banff.”
Speaking of their vision of the CMF, Zeitouni and Bradford point out that there were some limitations to what they could do in the first year. There was not time to develop partnerships that could be assets to the festival, and many potential soloists were not available on relatively short notice. That will change as they have more time to plan coming seasons.
As for the future, Zeitouni says there is no fixed version of what any festival should be. He is clear that taking the heritage and the strengths of the CMF in consideration, they expect to move in new directions, aiming to make the summers more exciting, and to gain more national recognition for a festival that has already achieved a great deal in its history.
“We have many ideas” Zeitouni says. “We have big things in mind that we are starting to organize, but we want people to focus on what is there this year.
“What we have put together is quite good and we want to people to get excited about that.”
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Read my season preview, and view a complete listing of the summer’s concert, below.