CMF artistic advisor Peter Oundjian will lead concerts with Bernstein theme

Principal guest conductor Jean-Marie Zeitouni returns for the festival’s fourth week

By Peter Alexander July 12 at 12:25 p.m.

Peter Oundjian is the most distinguished musician to lead the Colorado Music Festival (CMF) in its 43 seasons.

http://www.jaimehogge.com

Peter Oundjian. Photo by Jaime Hogge.

Since Jean-Marie Zeitouni stepped down as music director at the end of last season, Oundjian — former first violinist of the Tokyo String Quartet and just-retired as music director of the Toronto Symphony and Royal Scottish National Orchestra — has been artistic advisor to the festival. This year he will conduct three weeks of orchestral concerts, starting the weekend of July 12–15.

Zeitouni, now CMF’s principal guest conductor, will lead the orchestral concerts the following week. Oundjian will return for the final two weeks, July 26–Aug. 4.

For his concerts, Oundjian has established a theme: “It’s all Bernstein-inspired,” he says, in honor of the 2018 centennial of Leonard Bernstein’s birth. That means “things that influenced Bernstein, things Bernstein loved, things he was famous for, and by extension, music written on American soil.”

Read more in Boulder Weekly.

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Colorado Music Festival
July 12–July 22
All performances at Chautauqua Auditorium

Two Peak Performances
7:30 p.m. Thursday, July 12, and Friday, July 13
Peter Oundjian, conductor, with Yefim Bronfman, piano

Leonard Bernstein: Overture to Candide
Brahms: Piano Concerto No. 1
Rachmaninoff: Symphonic Dances, op. 45 

Octets at Altitude
7:30 p.m. Saturday, July 14
Chamber Music with CMF Chamber Players

Stravinsky: Octet for Wind Instruments
Prokofiev: Two Pieces for String Octet
Mendelssohn: String Octet, op. 20

All-American
7:30 p.m. Sunday, July 15
Peter Oundjian, conductor, with Robert McDuffie, violin

Copland: Appalachian Spring Suite
Barber: Adagio for Strings
Philip Glass: Concerto No. 2 for Violin, “American Four Seasons”

Scheherazade
7:30 p.m. Thursday, July 19
Jean-Marie Zeitouni, conductor, with Michelle DeYoung, mezzo-soprano

Wagner: Prelude and Liebestod from Tristan and Isolde
Timothy Collins: Buch des Sängers (world premiere)
Rimsky-Korsakov: Scheherazade

Fresh Fridays: Scheherazade
6:30 p.m. Friday, July 20
Conductor: Jean-Marie Zeitouni, conductor

Borodin: In the Steppes of Central Asia
Rimsky-Korsakov: Scheherazade
(Played without intermission)

American Strings
7:30 p.m. Saturday, July 21
Chamber Music with CMF Chamber Players

Philip Glass: String Quartet No. 2 (“Company”)
Barber: String Quartet
Dvořák: String Quartet No. 12, op. 96 (“American”)

Beethoven’s “Eroica”
7:30 p.m. Sunday, July 22
Jean-Marie Zeitouni, conductor

Ravel: Mother Goose
Beethoven: Symphony No. 3 (“Eroica”)

Full calendar

Tickets

Guest conductor Danzmayr leads an energetic concert at CMF

Music by Bartók, Piazzolla and Schubert—all drawn from folk sources

By Peter Alexander July 9 at 12:35 a.m.

DAVID-DANZMAYR-

David Danzmayr, guest conductor at CMF

David Danzmayr, the summer’s second guest conductor at the Colorado Music Festival (CMF), selected three pieces for last night’s chamber orchestra concert (July 8), all with roots in folk music.

In comments before the concert began, he noted that the three composers—Bartók, Piazzolla and Schubert—seem to have little in common, but the common thread is music reflecting their individual national cultures—from Hungary, Argentina and Austria, respectively.

The specific pieces he selected were Bartók’s Romanian Folk Dances, based on dances that the composer recorded in Hungarian villages as part of his folk music research; Piazzolla’s Four Seasons of Buenos Aires, drawn from the native tango music of Argentina; and Schubert’s Symphony No. 3, incorporating music of the Austrian countryside.

All are pieces that benefit from high energy, and that Danzmayr provided. Not that the performance was unblemished, but the energy comfortably overcame any imperfections.

Originally composed for piano, Bartók’s seven Romanian Folk Dances were performed in the composer’s own setting for small orchestra. The challenge is to create the rhythmic freedom of eastern European folk dances within orchestral sections. This is well accomplished in three movements, where Bartók hands the melody to solo players—clarinet in the second dance, piccolo in the third, and solo violin in the fourth. The soloists played with appropriate verve, with firm orchestral support.

Danzmayr gave the full ensemble portions of the score all the rhythmic impulse that a folk dance needs, driving right past a few moments when the texture became thick and murky.

Quint by Lisa Marie Mazzucco

Philippe Quint. Photo by Lisa Marie Mazzucco

The hit of the evening was the Piazzolla Seasons of Buenos Aires, a response to Vivaldi’s famous set of concertos, performed by the CMF strings with soloist Philippe Quint. A player who has his own ties to the style of Piazzolla’s music, Quint delivered a passionate performance. This is music that should be enjoyed, and everyone on stage seemed to be having fun. The audience’s enjoyment was evident by the applause, hesitantly between movements and raucously at the end.

The program had the seasons listed out of order—Summer, Winter, Fall, Spring—but in the event Quint played them in the usual order: Summer, Fall, Winter Spring. This is music of rapidly shifting moods, sometimes capturing the rough tango of Buenos Aires dance halls, sometimes more sultry, sometimes fiery. Quint seems to have them all in his hip pocket, moving from one mood to the next with no visible strain, and then filling the hall with a beautiful tone in the last movement’s lyrical moments. Conductor, orchestra and soloist danced together without a stumble.

To close the concert, Danzmayr and the orchestra gave a sparkling performance of Schubert’s Third Symphony. A native of Salzburg, Danzmayr said in an earlier interview that when you grow up playing the music of the Austrian countryside, as he did, “you have [the style] in your bones and in your feelings.”

He also said that this symphony is one of his favorites, and that was reflected in the performance. His enthusiasm for the music was evident, while his attention to detail, in the selection of tempos, in the phrasing, in the application of dynamics, made every gesture and phrase effective. The solemn slow introduction was followed by a cheerful romp and the sprightly, folkish “slow” movement positively danced along.

The minuet’s bumptious beginning suggests that Schubert had heard some Beethoven, but it then settled into a pleasingly pastoral second theme and trio. The bustling finale suffered only the occasional smudge in the strings, showing how close to the edge Danzmayr’s tempo really was. As so often in Schubert the composer’s delight in his own music made it hard for him to let go, as the movement rushed to a rousing finish.

The good cheer, the light orchestra texture, the sheer joy of the music makes the symphony seem less impressive than it really is, but careful attention to last night’s performance revealed its beauty.

A mix of operas large and small drives the season at Central City Opera

The method in artistic director Pelham Pearce’s madness

By Peter Alexander July 5 at 10:50 a.m.

Pelham Pearce, general/artistic director of Central City Opera (CCO), insists, “there is method to my madness!”

Central City Opera Opening Night 2006- Page 2 of Book

Central City Opera House (photo courtesy of Central City Opera)

The madness is expecting audiences to attend opera high in the Colorado mountains. And the method involves a mix of big pieces and small pieces, famed operas and unknown operas, with first-rate casts and imaginative productions. For the 2018 season, Pearce says, “you’ve got Handel, Mozart, Verdi and Mollicone. It represents a broad swath of styles.”

The formula devised through trial and error is to present two major productions in the historic Central City Opera House — this year, Mozart’s Magic Flute and Verdi’s Il Trovatore — and two shorter works in smaller venues — this year, Handel’s Acis and Galatea and The Face on the Barroom Floor by Henry Mollicone, a work that was written for CCO 40 years ago.

The season opens Saturday (July 7) with the Magic Flute; Il Trovatore opens a week later (July 14). These productions run in repertory until Aug. 5, with the shorter works being presented over a span of 10 days, July 25–Aug. 3.

Read more in Boulder Weekly.

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Central City Opera Summer 2018

The Magic Flute by Mozart/Emanuel Schikaneder
André de Ridder, conductor; Alessandro Talevi, stage director

2:30 p.m. July 11, 13, 15, 17, 21, 25, 29; Aug. 2, 5
8 p.m. July 7, 19, 27, 31
Central City Opera House
Performed in German with English supertitles.

Il trovatore by Verdi/Salvadore Cammarano
John Baril, conductor; Joachim Schamberger, stage director

2:30 p.m. July 18, 22, 24, 28; Aug. 1, 3
8:00 p.m. July 14, 20, 26
Central City Opera House
Performed in Italian with English supertitles.

Acis and Galatea by Handel/John Gay, Alexander Pope, John Hughes
Christopher Zemliauskas, conductor; Ken Cazan, stage director

8 p.m. July 25, 28; Aug. 1
5 p.m. July 26
Martin Foundry, Central City
Performed in English

The Face on the Barroom Floor by Henry Mollicone/John S. Bowman
40thanniversary production
Michael Ehrman, director

1:15 p.m. July 25, 28, Aug. 1, 2 3
Williams Stables Theater, Central City
Performed in English

Tickets for all productions