Jean-Marie Zeitouni to step down as CMF Music Director after 2017 season

Peter Oundjian will be artistic advisor for 2018

By Peter Alexander

Renowned conductor Peter Oundjian will be artistic advisor to the Colorado Music Festival for 2018. Photo by Jaime Hogge.

The Colorado Music Festival (CMF) has announced that this summer’s 40th-anniversary season will be Jean-Marie‘s Zeitouni’s last as music director.

Zeitouni took the position for the 2015 season with a three-year contract. He has decided not to seek renewal of the contract, and instead will have a three-year engagement as principal guest conductor, starting with the 2018 season.

Peter Oundjian, music director of the Toronto Symphony and the Royal Scottish National Orchestra, has been engaged by CMF as artistic advisor for the 2018 season. He will be responsible for programming the season and selecting the guest artists, and he will conduct two concerts during the summer.

He will visit Boulder this summer to meet with the musicians and others in the CMF organization.

A highly respected musician around the world, Oundjian rose to fame as a violinist, winning first prize at the International Violin Competition at Viña del Mar, Chile, in 1980, He was first violinist of the Tokyo String Quartet for 14 years, and since then he has conducted orchestras from the BBC Proms to New York, Berlin, Tel Aviv and Sydney.


Jean-Marie Zeitouni

Zeitouni says that while the decision to step back from the position of music director was his alone, the fact that Oundjian was available in 2018 played a part in the timing. “When (CMF) was able to get Peter Oundjian I became more confident about (leaving the position of music director),” he says. “Peter is in a very select league of major conductors around the world. It’s a great coup for the organization.”

Elizabeth McGuire, executive director of CMF, says that the search the next music director “will be a private search. We want to utilize tactics that are employed by the top-tier orchestras, so we can attract the very highest quality applicants.”

There will be no announcement of an opening or solicitation of applications. Instead, McGuire says that CMF will work through a network of consultants to find the right person. Having someone in place for 2019 is a possibility, she says, but “what we want is to find the right fit, and if it’s going to take more than one season, that’s what it will do. In the meantime having someone like (Oundjian) is a terrific solution for us. He has agreed to advise us on the search, and we have other artistic consultants working on it.”

There will be none of the public audition concerts that were such a prominent part of the 2014 season, when Zeitouni was selected as music director, and none of the candidates or finalists will be announced. At this point, she said, no one has been either ruled in or out for the position, including Oundjian.

“Our contract with him purely is a one-year contract,” she says. “We’re not going to leave any stone unturned when it comes to the possibilities, but we have not had that conversation with him now.”

Peter Oundjian 2017-18 - 3 - credit Malcolm Cook

Peter Oundjian conducting the Toronto Symphony. Photo by Malcolm Cook.

Oundjian seems genuinely excited about his appointment at CMF. “I went online and looked at the incredible Chautauqua Hall,” he says. “And then I listened to some recordings of the orchestra, and they sounded wonderful, and I thought, well, this is fantastic! This is a place that has it’s own particular magic. I’ve been really impressed by how well it is run.”

While Boulder is not recognized as one of the world’s musical capitals, that’s not an issue. “Not everything has to be Berlin or New York,” Oundjian says. “You come to a certain point and you’re looking for things to engage you in a slightly different way. I think life should be a mosaic, and I love the mountains. I think Boulder is one of the most beautiful places I’ve ever been to.”

He says it is too early to say what his programming might be, but that is part of the excitement. “I’m open to pretty much anything and I can get enthusiastic about an awful lot of things,” he says. “There seems to be a tremendous amount of flexibility and interest in music of all periods (at CMF).

“I have a canvas that’s fairly open and I have a large palette of colors that I could apply to it. And that’s an exciting situation to be in.”

In the meantime, Zeitouni wants audiences to remember that the CMF has its 40th anniversary celebration this summer. “It’s a great celebration,” he says. “I want to welcome people and invite them for this summer. I worked very hard to put this season together, and I’m excited to perform it.

“I’m very happy with what we did the past two years at CMF. I grew to love the community and the openness of the people of Boulder. I really felt accepted and respected. It’s always been for me, and I have to say for my daughter, a very welcoming place.”

In spite of several recent major administrative changes at CMF, McGuire says emphatically that the departure of Zeitouni as music director does not present a problem for the ongoing success of the festival and the affiliated Center for Musical Arts. “We’re really excited about the future right now,” she says. “We’re financially in excellent shape, so we can say that it’s looking up.

“I think we’re dealing with this change beautifully. I’m happy to be part of it.”

Mixing things up on CD and at the Dairy

From Led Zeppelin to Haydn with the Altius Quartet

By Peter Alexander

The Altius Quartet likes to mix things up.

nv6078-dresscode-frontcoverThe string quartet in residence at the CU College of Music, Altius just released a new CD, Dress Code, which does just that, in original and unexpected ways. And they have a concert Saturday at the Dairy Arts Center, “The Many Faces of the Altius Quartet,” that aims in part for the same goal (details below).

“Part of our identity from the getgo has been, how do we introduce people to classical music who otherwise wouldn’t set foot in a concert hall,” cellist Zachary Reaves says. “When we were still in college we would play shows in pubs, and we’d start with Led Zeppelin or whatever. We’d immediately follow it with a Haydn quartet. It was amazing how people’s reaction to Haydn was when they knew we also played Hendrix.”

Ever since the Kronos Quartet broke that ground in the 1970s, a lot of ensembles have mixed popular music with contemporary and standard classical pieces. Altius goes beyond that, in both the CD and the Dairy program, by scrambling the classical pieces in creative ways.

Take the play list for Dress Code. Just like their pub sets, it includes both Led Zeppelin and Haydn. But the Haydn Quartet—Op. 74 no. 1—is spread across the disc, with other pieces between the movements. Those other pieces include Led Zeppelin’s “Stairway to Heaven” as well as three rags by William Bolcom and other pop arrangements.

That description doesn’t quite do justice to the quirky and slyly subversive playlist. Apparent stylistic whiplash is better conveyed by the whole list—and even better by hearing the CD from beginning to end.

  1. Haydn: String Quartet in C major, op 74 no. 1, I. Allegro Moderato
  2. Dave Brubeck/Michael Jackson: Take it (arranged Reaves)
  3. William Bolcom: Graceful Ghost Rag
  4. Led Zeppelin: Stairway to Heaven (arr. Reaves)
  5. Haydn: String Quartet in C major, op. 74 no. 1, II Andantino grazioso
  6. Bolcom: Poltergeist Rag
  7. Haydn: String Quartet in C major, op. 74 no. 1, III Menuetto
  8. Bolcom: Incineratorag
  9. Ben E King: Stand by Me (arr. Reaves)
  10. Haydn: String Quartet in C major, op. 74 no. 1, IV Vivace
  11. a-ha: Take on Me (arr. Reaves)

Altius.1“The idea was that instead of putting all four movements of the Haydn together, for maybe a millennial to skip over, to intersperse it, while giving a taste of what a string quartet sounds like,” Reaves says. “In the arrangements, we try to sound like a classical ensemble, playing pieces that people are familiar with. Then, when they get used to that sound, listening to a Haydn quartet is not so weird.“

The same aesthetic applies in the program for the Dairy. In this case the most unorthodox program choice is a set of Beethoven scherzos, from three different string quartets: Op. 18 no. 6, Op. 59 no. 1 (“Razumovsky”) and Op. 131—one early quartet, one middle and one late.

This idea was hatched between Reaves and James Bailey, curator of the Dairy’s music series. “Bailey’s become a great friend,” Reaves says. “He and I will just talk about ‘What kind of weird things can we do?’ This program is a brainchild between him and me, showcasing how (Beethoven’s) style in general but also specifically his style in scherzos evolved over his entire career.”

The program also includes Through Fog, a piece written for the Altius Quartet by J.P. Merz, who was a masters composition student at CU when he wrote it. “We performed it at Carnegie Hall in November,” Reaves says. “It’s been a huge hit.”

For a portion of the concert, the members of Altius will be joined by violist Stephanie Mientka and cellist Matt Zalkind to perform three sextets: Atlantic Jigpipe by Mientka’s brother Gabriel; Reaves’s arrangement of Queen’s Bohemian Rhapsody; and Arnold Schoenberg’s Verklärte Nacht (Transfigured Night).

If the stylistic mix sounds disorienting, I should note that the decisive playing of the Altius moderates the stylistic dislocations. Played with conviction and stylistic clarity, Haydn and Queen sit comfortably together on the same stage.

This is in the quartet’s toolkit, no doubt because, as Reaves says: ”We all grew up listening to so many different kinds of music that it’s hard to pick one.” But it is also a mark of their solid training and great musicianship that Dress Code is an artistic success as well as a milestone in the young quartet’s career.


Altius has been in Boulder for nearly three years, working with the Takacs Quartet. They will shortly complete their residency, but they plan to stay in the Boulder area as they pursue a career as a professional string quartet. “We’ve kind of fallen in love with area,” the quartet’s cellist, Zachary Reaves, explains. “Being close to the mountains, but aside from that, we’ve met a lot of great people here and made a lot of really good contacts.”

In addition to Dress Code, they have also recorded an album of music by Shostakovich, which will come out in the fall. In the meantime, they will celebrate the first album with a CD release party 7 p.m. Thursday, April 13, at Caffè Sole, 637R South Broadway in Boulder (Broadway and Table Mesa Drive).

# # # # #

Dress Code. Altius Quartet: Joshua Ulrich and Andrew Giordano, vioins; Andrew Krimm, viola; Zachary Reaves, cello. Navona Records NV6078

One Night Only: “The Many Faces of the Altius Quartet
7:30 p.m. Saturday, April 8, the Gordon Gamm Theater, Dairy Arts Center

Atlantic Jigpipe by Gabriel Mientka
3 Scherzos by Beethoven
Through Fog by J.P. Merz
Bohemian Rhapsody by Freddie Mercury
Verklärte Nacht by Arnold Schoenberg



Pro Musica concerts, and season, culminate with Beethoven’s “Eroica”

From Creation to love and death to triumph in just three concerts

By Peter Alexander

Pro Musica

Pro Musica Colorado Chamber Orchestra

Cynthia Katsarelis first played Beethoven’s “Eroica” Symphony when she was 16. Since then she has played it, and conducted it, dozens of times, but she still feels she has more to learn.

“That’s what’s so great about great music,” she says. “Every time I look at it there’s something new that I discover.”

Photography by Glenn Ross.

Cynthia Katsarelis. Photo by Glenn Ross.

Katsarelis’ latest opportunity to look at the “Eroica” comes this weekend, when it will be the culmination of not just a pair of concerts in Denver and Boulder (details below), but in fact the whole 2016–17 season of the Colorado Pro Musica Chamber Orchestra.

The Pro Musica’s season opened in October with a performance of Joseph Haydn’s Creation. A second concert in January paired a joyful symphony by Schubert with Shostakovich’s dark meditation on death in his 14th Symphony. And now Beethoven: in Katsarelis’s description of the season, “We started with creation, we went into love and death, and we come out in triumph.”

The concerts Friday and Saturday will open with the world premiere of a new piece by CU composition student Egemen Kesikli, Weltschmerz (world-weariness or world’s pain). Also on the program is Carl Nielsen’s neo-classical Flute Concert, performed by CU flute professor Christina Jennings. The concerts will end, after intermission, with Beethoven’s Symphony.

A piece about world weariness and resignation seems like a strange place to begin a concert titled “Triumph,” but Katsarelis thinks it fits right in. “It’s great because we get to kind of replay the arc of the season within the concert,” she says. “We are starting from pain, finding joy in the Nielsen, and overcoming in the Beethoven. It’s a microcosm of the season.”


Egemen Kesliki

Weltschmerz was commission by Pro Musica Colorado. The CU composition faculty selected scores by several students, which they presented to Katsarelis. Based on the scores she saw, she selected Kesikli to write a new piece for the 2016–17 season.

“It’s a really beautiful piece,” she says. “It has some interesting effects—playing with the wooden part of the bow, raindrop effects that some players do with their left hand, violin parts that are written in eight different parts. It will have an interesting sound to it, and the piece has a nice arc to it.”

Nielsen is best known for his expansive, lushly Romantic symphonies, but Katsarelis stresses that the Flute Concerto is not like those works at all. “It’s really a charming, neo-classical piece,” she says.


Christina Jennings

“I guess mercurial is the word for it. You think it might be a majestic piece, but then it has these charming 1/16-notes with off-beats in the accompaniment, and then it goes on to a really sweet melody. It covers a range of emotions, and does it rather quickly. So it’s very mercurial, but it’s fun.”

Beethoven’s Third Symphony is one of the best known works in the classical canon, and Katsarelis says it is one of the greatest symphonies ever written. It was longer and more powerful than any symphony written before. But what makes it great, Katsarelis says, is the way Beethoven’s personal struggles turned the symphony into a universal statement of triumph.

It was written soon after Beethoven discovered that he was going deaf, and that his deafness would only get worse. Rather than give in to thoughts of suicide, he turned his suffering into music that speaks of overcoming pain and hardship.

“He says it’s his art that keeps him alive,” Katsarelis explains. “He makes peace with the deafness, and out of that despair he enters his ‘Heroic’ period. The sense of Beethoven bringing the inspiration of heaven starts with the opening chords of the ‘Eroica’.”


Portrait of Beethoven by Joseph Mähler, painted around the time of the Eroica Symphony

It is also well known that Beethoven originally intended to dedicate the symphony to Napoleon, until he crowned himself emperor. Out of disillusionment, Beethoven violently removed the emperor’s name from the cover page. “When Beethoven scratched out the dedication to Napoleon and made it to ‘a great person,’ he turned it into something universal,” Katsarelis says.

The universality of the symphony’s message can also generate personal impact. “It gets personal, as certain pieces do,” Katsarelis says. “I was playing in an orchestra when my grandmother died. I missed one rehearsal, and when I got back we were doing the Eroica and the first thing we rehearsed was the funeral march.

“I see it personally, but I also see it universally. I think the personal connection helps me to see the universal.”

Katsarelis says that “everybody should come” to the concert, because the message of Beethoven’s music is still relevant today. “The triumph in Beethoven’s Eroica was more aspirational than accomplished, even when Beethoven wrote it,” she says.

“I think that taps into our aspirations today, and can really ignite our inspiration to strive for a better world, in just being the best that we can be.”

# # # # #

Pro Musica Chamber Orchestra of Colorado
Cynthia Katsarelis, conductor, with Christina Jennings, flute

Egemen Kesikli: Weltschmerz (world premiere)
Carl Nielsen: Concerto for Flute
Beethoven: Symphony No. 3 in E-flat major, op. 55 (“Eroica”)

7:30 p.m. Friday, April 7, First Baptist Church, 1371 Grant St., Denver
7:30 p.m. Saturday, April 8, First United Methodist Church, 1412 Spruce St., Boulder
Pre-concert talk, 6:30 p.m. both evenings.



Opening the door to classical music

World premiere, Berlioz’s fever dream and Liszt’s evocation of doom 

“The orchestra has a rich history and a great potential for the future.”

By Peter Alexander

Each of the four candidates for music director of the Longmont Symphony will conduct a concert during the 2016–17 season. When each candidate visits Longmont, I will take the opportunity to introduce him (and yes, they are all male). The questions will include serious questions about the job of a music director, but also questions that help introduce each of them to the reader. I hope this will give a clearer picture of the strengths of each candidate.


Zachary Carrettin

The final candidate, Zachary Carrettin, will conduct the LSO on Saturday, April 8. The following works are on the program: A Longmont Overture by Kyle Kindred (world premiere); Violin Concerto Op. 61 by Beethoven, with Charles Wetherbee, violin soloist; and Symphony No. 8 in G major by Antonín Dvořák.

Here are his answers to the questions I asked:

What attracted you to the Longmont Symphony?

 The orchestra has a rich history in its city, 50 years, and a great potential for the future. In recent years, I’ve developed friendships in Longmont, initially through collaboration with the OUR Center and through attending events for A Woman’s Work, Arts Longmont and other organizations. Additionally, the Boulder Bach Festival and I started Bach in Longmont, a series at the Longmont Museum and Stewart Auditorium. Through all of these events I’ve met some of music enthusiasts in Longmont, and I really value these associations and relationships.

 How do you think about programming for a community orchestra? What would a season of the LSO with Zachary Carrettin look like?

 One should program the music the orchestra loves to play, and the music the audience will find interesting: moving, epic, poetic, fun and powerful. European composers from the 1700 to 1945 make up the bulk of our symphonic repertory, but there’s also amazing music by American composers. Spanish and Latin American orchestral music offers exotic colors, as does the music of French Impressionists. The Russian symphonists from Tchaikovsky to Stravinsky, Prokofiev and Shostakovich are as important in orchestral literature a the music of Beethoven and Brahms. When I program a concert, I always try to include something unique, something special. For example, on April 8 the Longmont Symphony and I will perform the world premiere of a new work celebrating the Longmont Symphony by composer Kyle Kindred.


Photo by Courtney Lee

There have recently been alarm bells for classical music and orchestras, especially the larger orchestras that have had serious labor disputes. Do you think that these problems will affect community orchestras as well? And if not, what do you think are the challenges for the smaller  orchestras?

 The financial challenges of an orchestra depend on several factors, and one of those is he orchestra’s desire for growth. Any kind of growth in the budget, in the visibility in the community, in the programming costs money, and this balancing of revenue and expense is the challenge of any non-profit arts organization. I don’t think the challenges are quite as steep for the community orchestras as they are for the full time professional orchestras.

Developing new audiences while captivating the loyal core ticket subscribes is the challenge of our times. Marketing and public relations can help with this by focusing on the exotic nature of the orchestral concert experience. When we travel to foreign countries we eat the food, we hear the language, we experience the sights and sounds. Similarly, we might begin to think of advocating a concert tourism approach in marketing, where we seek to attract audiences of all ages to be a part of the depth and the wonder and the splendor of the symphonic art form, an art “ever-changing as a river flowing.” (That’s a quote from Borges.)

How do you balance and prepare for the various aspects of the conductor’s job: the musical requirements, the social demands with the public, and the diplomatic demands with contributors, the board and musicians?

 The schedule of study, administrative efforts and performance is not for the faint of heart! Yet it is a life journey and a constant workout for the body and the mind. All these disciplines intersect, and the success of an ensemble is dependent on these intersections. I can only say that I try my best, and I learn as much as I can in my many professional engagements. All of these different endeavors require slightly different tweaking of the skill sets.

When the organization is progressing, everyone is inspired and everyone has the energy to do the work at hand. When the conductor is in the community, working with the chamber of commerce, in the public schools and working with donors and seeking advertisement and underwriting, all of this involves multiple people who facilitate these relationships, and it can be quite fulfilling. Balancing all of these disciplines contributes to a conductor’s ability on the podium and relationship with the orchestra.

For example, one donor might want to hear 20th-century unknown works, another one to hear the war horses of the literature. One musician of the orchestra might want to play more Haydn, another one might not want to play anything before 1800. So I think listening to the voices of everyone is step one. Processing that information is step two. But a music director also has to have a strong sense of his or her skill set and vision, because if one only listens to everybody else, one is sacrificing his or her own talents and experience.

carrettin_boulderbachfestival_cropAbout you now: Where did you grow up?

 I grew up primarily in Houston, Texas. I also lived in California, Illinois, Romania, Norway and Italy.

 Did you come from a musical family?

 Both my parents studied fine art, which is how they met—my mother was a recipient of a Fulbright study grant and lived in Venice, Italy, for a year, where my father was born and raised. My mom has been an English teacher for her career, and my father has spent most of his life working for restaurants. Both of them supported my musical endeavors wholeheartedly and with great sacrifice.

Who are your musical mentors?

 I admire conductor Carol Smith immensely. She ran the orchestral program at Sam Houston State University for 30 years. Her work ethic and strong commitment to nurturing young adult musicians have left a profound legacy.

My mentors also include Romanian conductor Dumitru Goia, who was assistant to Mravinsky in Lenningrad, decades ago. Another one of my mentors is the American conductor Donald Schleicher. But also the formidably exploratory violinists Kenneth Goldsmith and Sergiu Luca.

I also owe a debt of gratitude to the music magnet programs in the Houston Public Schools. My elementary school had 80 violin students, my middle school orchestra toured the state of Texas, my high school orchestra performed in Carnegie Hall—Dvorak Symphony No. 8, by the way!—and then I went on to pursue two degrees at Rice University, with additional studies in Illinois, Norway, Germany and Italy.

That said, I grew up playing fiddle contests at Texas rodeos, and played Tango Nuevo and have a love of Portuguese fado songs.

Are there any conductors today whose work you especially admire?

 One of the conductors who made the greatest impact on me was Rafael Frühbeck de Burgos, who never micro managed. He had an extraordinary sense of beauty of tone and expansiveness of line, and the greatest musicians responded to him attentively  and completely. Fresh out of graduate school I was in the Bergen Philharmonic and we toured Switzerland under the baton of de Burgos. I later learned that my teacher Ken Goldsmith had performed with de Burgos conducting, and Goldsmith’s teacher Nathan Milstein made recordings and performances with de Burgos, so I’m a third-generation violinist to perform symphonic literature with Maestro de Burgos.

Moving on the sillier questions: Do you have a favorite food or cuisine?

I don’t have a favorite cuisine. It depends on the weather and the season and all of that. My wife and I share a passion for exploring food together, from taco trucks to fish markets, to cheese shops to barbeque. In fact, once in Houston we ate three consecutive lunches on a quest to find the best barbeque restaurant in Houston. It turns out it’s in Longmont! It would be unfair to single one out—there are several that I have yet to enjoy. I will say that I’m particularly fond of the Rib House.

As you know, Colorado is an outdoor recreation state. Do you have a favorite activity outdoors? Or are you too busy shut up in your studio studying scores?

 I enjoy water skiing in the summer and cross-country skiing in the winter, but admittedly only a few days a year. More frequently I walk on mountain trails with my dog, and especially in the  summer months here on the front range we really enjoy that. He’s a 5-pound Chihuahua named Apple with loads of personality and he never seems to get tired of walking. As regards score study, it never ends, but life seems to. One must study and live.

Do you follow any sport or team?

The symphony orchestra is the supreme example of a team sport. It is extremely athletic, from controlling the breath to controlling the muscles, and requires endurance. The team members have an uncanny awareness of one another, and their collective sense of timing is extraordinary. And they have to be flexible in their role, as the nature of the music requires them to change their position or their role on a dime. This is thrilling to observe, especially in a live concert. Sometimes audiences respond with the kind of enthusiasm we see at football games. And finally the conductor might be considered a coach, but ultimately the instrumentalists in the orchestra are the ones who execute the plays.

Josh Bell, Quicksilver Baroque on the 2017–18 CU Presents Series

By Peter Alexander


Quicksilver Baroque Ensemble

CU Presents, the performing arts series on the University of Colorado, Boulder campus, has announced several noteworthy classical music events as part of the 2017–18 season.

Josh Bell by Lisa Marie Mazzucco

Josh Bell. Photo by Lisa Marie Mazzocco.

Among these are a solo recital by award-winning violinist Joshua Bell Feb. 9, 2018, and a concert by the historically informed Quicksilver Baroque Ensemble April 20, 2018. The yet-to-be-selected winner of the 2017 Van Cliburn International Piano Competition will perform a solo recital Nov. 3, 2017. This year’s competition will be held in Ft. Worth, Tex., May 25–June 10.

Other Artist Series events in Macky Auditorium will include the Martha Graham Dance Company, Oct. 5, 2017; jazz and R&B vocalist Dianne Reeves Dec. 16, 2017; and Béla Fleck and Brooklyn Rider Jan. 20, 2018.

This season also features five concert pairs by the Takács Quartet and a performance by CU Boulder’s current graduate quartet-in-residence, the Altius Quartet. The Eklund Opera Program’s season features productions of Franz Lehár’s Merry Widow Oct. 27–29, the Stephen Sondheim musical Sweeney Todd March 16–18, and Handel’s Ariodante April 26–29.

The full CU Presents season is listed below. More information is available on the CU Presents Web page. Season ticket sales begin Monday, April 3 at 10 a.m., and single tickets will be available beginning Monday, Aug. 14. Tickets will be available here, or over the phone at 303-492-8008.

# # # # #


Artist Series at Macky Auditorium

Martha Graham Dance Company
Thursday, Oct. 5, 2017

The Triplets of Belleville
Sunday, Oct. 15, 2017

Dianne Reeves

Dianne Reeves

Van Cliburn Gold Medal Winner
Friday, Nov. 3, 2017

Dianne Reeves 
Saturday, Dec. 16, 2017
Holiday Concert

Béla Fleck and Brooklyn Rider
Saturday, Jan. 20, 2018

Joshua Bell
Friday, Feb. 9, 2018

Ailey II
Saturday, Feb. 17, 2018

Lila Downs
Saturday, March 3, 2018

Saturday, March 24, 2018


Holiday Festival in Macky Auditorium

Quicksilver Baroque Ensemble
Friday, April 20, 2018
Stile Moderno: 17th Century Italy

Holiday Festival
Friday, Dec. 8, 2017, 7:30 p.m.
Saturday, Dec. 9, 2017, 1 p.m.
Saturday, Dec. 9, 2017, 4 p.m.
Sunday, Dec. 10, 2017, 4 p.m.
Macky Auditorium

Eklund Opera Program

The Merry Widow
By Franz Lehár
(Sung in German with English surtitles)
Friday, Oct. 27, 2017, 7:30 p.m.
Saturday, Oct. 28, 2017, 7:30 p.m.
Sunday, Oct. 29, 2017, 2 p.m.
Macky Auditorium

Sweeney Todd
By Stephen Sondheim
Friday, March 16, 2018, 7:30 p.m.
Saturday, March 17, 2018, 7:30 p.m.
Sunday, March 18, 2018, 2 p.m.
Macky Auditorium

By George Frideric Handel
Thursday, April 26, 2018, 7:30 p.m.
Friday, April 27, 2018, 7:30 p.m.
Saturday, April 28, 2018, 7:30 p.m.
Sunday, April 29, 2018, 2 p.m.
Music Theatre, Imig Music Building

Takács Quartet

Takasce SQ

Takacs Quartet

Chamber Series (sold out by subscription)
Sunday, Sept. 24, 2017, 4 p.m.
Sunday, Oct. 29, 2017, 4 p.m.
Sunday, Jan. 21, 2018, 4 p.m. (Altius Quartet)
Sunday, Feb. 4, 2018, 4 p.m.
Sunday, March 11, 2018, 4 p.m.
Sunday, April 29, 2018, 4 p.m.
Grusin Music Hall

Encore Series (limited availability)
Monday, Sept. 25, 2017, 7:30 p.m.
Monday, Oct. 30, 2017, 7:30 p.m.
Monday, Jan. 22, 2018, 7:30 p.m. (Altius Quartet)
Sunday, Feb. 5, 2018, 7:30 p.m.
Monday, March 12, 2018, 7:30 p.m.
Monday, April 30, 2018, 7:30 p.m.
Grusin Music Hal