Bahman Saless and the Boulder Chamber Orchestra celebrate all the holidays

Music from a Mexican beach and a crazy Brazilian conductor

By Peter Alexander

Conductor Bahman Saless and the Boulder Chamber Orchestra (BCO) have a couple of holiday traditions.

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Guitarist Chaconne Claverenga will be featured soloist with the BCO

Every year they honor the December holidays as ecumenically as possible with a concert titled “A Gift of Music,” performed mid-month in Broomfield and Boulder. After that they present a New Year’s Eve concert in Lakewood featuring Viennese and other light classical selections.

This year’s “Gift of Music” doesn’t have any traditional holiday music on the program, “because we want it to be multi-denominational,” Saless says. Instead, the program reflects the holidays through music of lighthearted beauty and good cheer.

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Flutist Cobus du Toit is a member of the BCO

Saless selected three works for the program: the Concierto de Aranjuez by Joaquín Rodrigo, featuring young guitar virtuoso Chaconne Klaverenga as soloist; Pastorale Suite for flute and strings by Gunnar de Frumerie, with the BCO’s Cobus du Toit as soloist; and Franz Schubert’s Symphony No. 5.

With all the Nutcrackers, Messiahs and other traditional musical performances in December, New Year’s almost gets overlooked by classical musicians in this country. But in Europe, it is the focus of many performances, particularly the annual New Year’s Day concert of the Vienna Philharmonic.

It is that tradition that the BCO channels every year with its New Year’s Eve concert.

This year, Saless steps aside for guest conductor Claudio Cohen, director of the National Orchestra of Brasilia in Brazil. He and Saless are doing a “podium exchange,” with Cohen conducting here New Year’s Eve, and Saless traveling to Brazil in October.

Read more in Boulder Weekly.

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Boulder Chamber Orchestra

The Gift of Music
Bahman Saless, conductor, with
Chaconne Klaverenga, guitar, and Cobus du Toit, flute
7:30 p.m. Friday, Dec. 15, Broomfield Auditorium, Broomfield
7:30 p.m. Saturday, Dec. 16, Boulder Adventist Church, Boulder

A New Year’s Eve Celebration
Claudio Cohen, guest conductor
6:30 p.m., Sunday, Dec. 31, Lakewood Cultural Center, Lakewood

Information and tickets

 

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Boulder’s holiday musical banquet serves ‘All Things Bright and Beautiful,’ ‘Fire and Ice’

By Peter Alexander

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Dianne Reeves will be at Macky Auditorium Dec. 16. Photo courtesy of CU Presents

The musical banquet that is the holiday season this year brings us “All Things Bright and Beautiful,” “Holiday Memories,” “Fire and Ice,” and Diane Reeves.

Read more about Centennial State Ballet’s performance of The Nutcracker, and holiday concerts by Ars Nova Singers (“Fire and Ice”), Diane Reeves at Macky Auditorium (“Christmastime is Here”), Boulder Chorale (“All Things Bright and Beautiful”), The Longmont Symphony (Candlelight Concert), and a special performance for dementia patients and caregivers by the Boulder Symphony (“Holiday Memories”) in Boulder Weekly.

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Fire and Ice: Christmas with Ars Nova
7:30 p.m. Saturday, Dec. 9, Heart of Longmont United Methodist Church, 350 11th Ave., Longmont
4 p.m. Sunday, Dec. 10, Sgt. Paul Community of Faith, Denver
7:30 p.m. Thursday & Friday, Dec. 14 & 15, St. John’s Episcopal Church, 1419 Pine St., Boulder
Tickets

Nut2012-party-dolls

Centennial State Ballet’s production of The Nutcracker

The Nutcracker
Centennial State Ballet
7 p.m. Friday, Dec. 15
2 and 7 p.m. Saturday, Dec. 16
1 p.m. Sunday, Dec. 17
Tickets

Diane Reeves: Christmastime is Here
7:30 p.m. Saturday, Dec. 16
Macky Auditorium
Tickets, or call 303-492-8008

All Things Bright and Beautiful
Boulder Chorale, Vicki Burrichter, artistic director, with Chamber Singers, Children’s Chorale, and Sheryl Renee, guest artist vocalist
4 p.m. Saturday & Sunday, Dec. 16 & 17, First United Methodist Church, 1421 Spruce St, Boulder.
Tickets

Candles-at-Christmas_W500xH500Candlelight Concert
Longmont Symphony Orchestra, Elliot Moore, conductor
4 p.m. Sunday, Dec. 17, Westview Presbyterian Church, 1500 Hoover St, Longmont
Tickets

Holiday Memories
A Dementia-Friendly Concert
Boulder Symphony, Devin Patrick Hughes, artistic director
3 p.m. Wednesday, Dec. 20
First Presbyterian Church, 1820 15th St., Boulder
Free; reserve tickets

 

Bach Festival’s ‘World Transformed’ features historical perspectives on familiar instruments

Piano, clarinet and violin in music of the early 20th century

By Peter Alexander

The Boulder Bach Festival enters a new realm Saturday (Dec. 9), performing music from the early 20th century while demonstrating unusual historical perspectives on three familiar instruments: the piano, the clarinet and the violin.

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Mina Gajic’s historical piano from 1895

The concert will be at 7:30 p.m. in Longmont’s Stewart Auditorium (tickets). It will not be repeated elsewhere.

Each of the three will be subtly different from modern instruments, and each will be only one example of the many variations on the same instrument that have been heard, at different times and in different locations. So the concert will be both a musical program and a demonstration of the relationship between the music of a particular era and the instruments on which it is played.

Comprising seven pieces from the 20th– and 21st-centuries, the program reflects the BBF’s goal of “navigating the waters of music history with J.S. Bach as our compass.” It will follow several distinct threads from the early 20th century to works by living composers. Using different combinations of the three players, the program will be:

—Alban Berg’s Four Pieces for clarinet and piano (1913);
—Berg’s Piano Sonata (1908);
—George Antheil’s Sonata No. 2 for violin and piano (1923);
—Béla Bartók’s Romanian Folk Dances (1915, later arranged for violin and piano);
—William Bolcom’s “Graceful Ghost Rag” (1970, also arranged later for violin and piano);
—Charles Ives’s Largo for violin, clarinet and piano (1902); and
—The world premiere of “Prelude and Hardboiled Fugue” by Arthur Gottschalk, written for this specific trio of players.

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Zachary Carrettin

“There’s no piece longer than 10 minutes on the program,” Carrettin says. “I really wanted to tell short stories, each one being distinct in its tonal language, in its rhythmic drive and its abstraction, so that we could focus on the special qualities of each instrument.”

It was Hawley’s clarinet that inspired the concert. “A year ago I was judging the Art of the Duo Competition (in Boulder),” Hawley says. “We were talking about (Gajic’s) Érard piano and what music would go with it. I said, ‘I would love to hear some of the music that was written for the clarinet, with the instrument of the time and the piano of the time.’”

That idea led to Saturday’s concert, which will be Hawley’s first public performance on his vintage clarinet.

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Richie Hawley with a modern clarinet

Hawley found the clarinet 27 years ago when he was a student at the Curtis Institute in Philadelphia. He was looking for old clarinet mouthpieces, which often have qualities that he likes. He found an old instrument in an estate sale and bought it for $35 in order to get the mouthpiece. But when he opened the case, he was disappointed to see that the mouthpiece looked new.

It was his teacher, Donald Montanaro of the Philadelphia Orchestra, who realized what Hawley had. “He said, ‘No, that’s a vintage mouthpiece from the ‘20s and it’s never been played!’” Hawley explains. “He said ‘‘This clarinet is brand new.’ So someone had this amazing professional clarinet, top of the line from 1919, and never played on it.”

He had the clarinet restored to playing condition, but never found much use for it until he realized how well it would match the 1895 piano. “The fingerings are the same as now, but the sound is dramatically different,” Hawley says. “It has a very dense, compact, small sound, and it doesn’t project like the modern instrument.”

He has not had a chance to play with Gajic on her 1895 piano, or with Carrettin, until this week. “I don’t know what it’s going to be like to hear these instruments together,” Hawley says. “It’s going to be a very, very steep, yet mandatorily fast learning curve.”

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Parallel strings in the Érard piano

This will not be the first time Gajic has brought her piano to Longmont for a BBF concert. Because the instrument is straight strung—meaning all the stings run parallel, unlike modern pianos that have bass strings that cross over the others—it has a very clear, transparent sound that is subtly different in different registers. This matches well with the clarinet’s compact sound. (Read more about the piano here.)

Carrettin explains that there were several different types of violin strings available before the 1960s, when the nylon core string was developed. These included pure gut, gut wound with metal alloy, and steel, all of which are available today from specialist string makers.

“There are a lot of options in a historical setup,” he says. Depending on the type chosen for each of the four strings, “violinists had the option of treating each string as a voice, or having two registers, perhaps and alto and tenor if you want to think about it that way, with two strings in each register.

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From left: Three wound gut and one steel string on Carrettin’s violin

“The string choices on different violins will determine how homogenous the tone is across the four strings, or how much the registers are distinct from one another. What I have chosen to do is three strings with a gut core wound in an alloy, and then a top string of steel.”

Carrettin sees several themes that run through the program. With the inclusion of the Bartók Romanian Folk Dances and the modern rags, one of those is dance., which is the basis of much of the music of Bach and other Baroque composers. “I wanted to have some very obvious dance music on this program that did not come out of the Baroque,” he says.

Ragtime is also connected to the music of Antheil, “an American in Paris in the 1920s hanging out with Stravinsky and Ezra Pound. The reason I thought of adding the ‘Graceful Ghost Rag,’ which is tonal and beautiful and melodic, was to connect to these abstract ragtime moments in the Antheil.”

Another theme is the connection among teacher and student in Carrettin’s own life. Gottschalk, whose world premiere will close the concert, was Carrettin’s composition teacher, and a student of Bolcom. What’s more, the violin-piano version of “Graceful Ghost” was written for one of Carrettin’s violin teachers, and an earlier version of Gottschalk’s was written for another.

“There’s a lot of personal connections for me here in my life, as a student and as a musician,” he says. But more important is the kaleidoscopic variety of the program he has put together.

“As we program more and more chamber music on the Bach Festival, my goal is to offer programs that are distinct,” Carrettin says. “I’m hoping that (this concert has) something for everyone. It has consonance, dissonance, abstraction, melody, surrealism. It has dance, it has song, it has banging on the piano, and it even has drums at one point.

“It’s kind of got everything, and that was the idea.”

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A World Transformed
Boulder Bach Festival
Mina Gajic, 1895 Érard piano; Richie Hawley, 1919 Buffet clarinet; and
Zachary Carrettin, gut-string violin

7:30 p.m. Saturday, Dec. 9
Stewart Auditorium, Longmont

Tickets

 

 

Three New CDs have Boulder connections

Music by Max Wolpert, performances by Altius, and Starkland’s latest

By Peter Alexander

Wolpert.CDAmanda Harberg: Viola Concerto; Elegy
Max Wolpert: Viola Concerto No. 1, “Giants”
Brett Deubner, viola; Southern Arizona Symphony Orchestra, Linus Lerner, conductor
Naxos American Classics 8.559840

Max Wolpert is the only composer I can think of who has begun a piece of music with the end of the world.

What could come after that? As it turns out, quite a bit in Wolpert’s Viola Concerto, subtitled “Giants.” As recently recorded by violist Brett Deubner, for whom the concerto was written, and the Southern Arizona Symphony Orchestra with conductor Linus Lerner, “Giants” is an attractive, effective and intriguing bit of musical depiction.

The title comes from Genesis: “There were giants in the earth in those days.” Each movement refers to a different giant, starting with Father Time as imagined in The Chronicles of Narnia by C.S. Lewis. A giant who slumbers deep beneath the earth, Father Time is awakened to “blow his horn and call the stars down from the sky.” If Wolpert’s end of the world is not as apocalyptic as we might expect, the chimes and final trumpet calls make a clear announcement.

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Max Wolpert

After this mild apocalypse, Wolpert looks to the sky and the familiar cloud-dwelling giant, soothed by a magic harp. Here, a lovely harp solo accompanies lyrical lines in the solo part. The sky giant grumblingly awakes when the harp ceases, to orchestral chords that call out “fee-fie-fo-fum.” As the harp resumes, the threat is evaded.

The third giant is a rollicking “Cloud Woman” who enjoys thunderstorms as “a wild dance party.” Her revels are evoked by a “Balkan-influenced groove,” with lots of non-symmetrical rhythms.

There is a clever bit of musical symbolism running throughout. Wolpert sees the disappearance of giants as the diminishing of the world. “To encapsulate this notion,” he writes, “the concerto is framed around a melodic interval which gradually diminishes”: A fifth in the first movement, a fourth in the second movement, and a third in the final movement.

Wolpert, who lives in Boulder and works at Rocky Ridge Music Center, describes himself as a “composer and storyteller,” and the giants are depicted vividly in his music. It’s all great fun, and this must be a pleasure to play. An accessible piece for audiences, I can imagine this Concerto showing up on programs for both adults and children. Brett Deubner plays with a lovely, deep viola sound, lyrical flow and great technical assurance.

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Brett Deubner

The disc is filled out with another Viola Concerto written for Deubner, by Amanda Harberg. The second movement, described as “a meditation on the fragility of life” is particularly lovely, again combining the viola with harp—an especially congenial pairing—at the outset.

The final piece on the disc is Harburg’s Elegy, written for piano and viola and arranged by the composer for viola with strings for Deubner to play. Written in memory of Harberg’s piano teacher and drawing from the same well as the concerto’s slow movement, this is an even more lovely and deeply affecting piece of music. I have a suggestion for orchestral programmers: the next time you need music for a somber occasion, perform Harberg’s Elegy.

The Southern Arizona Symphony is a community orchestra located in Tucson. Aiming to have an influence outside their own region, they have recorded, toured to China, and commissioned new works. If lacking brilliance or exceptional power, their performance is never less than effective.

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Altius.coverShostakovich: String Quartets 7, 8 & 9
Altius Quartet
Navona Records NV6125

 The Boulder-based Altius Quartet, formerly in residence with the Takas at CU, have released their second full CD, and it is one to be relished by their fans.

After their somewhat whimsical first recording, “Dress Code,” with its offbeat mix of Haydn, Led Zeppelin, and others, they have turned to a more weighty region of the quartet repertoire: the Seventh, Eighth and Ninth quartets of Shostakovich. Written at a critical point in the composer’s life, 1960 and 1964, these quartets are deadly serious and challenging to even the most experienced, mature quartets.

For the most part, the Altius prove themselves equal to the task. The members of the quartet are never less than completely assured in playing this challenging music, and they know what they want the music to say.

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Altius Quartet

From the first notes of the Seventh Quartet, they play with a nervous energy and palpable anxiety that matches the composer’s life under the Soviet state. Their tightly controlled performance of the Seventh reflects Shostakovich’s emotional state in 1960, suggesting that there is a hidden emotional depth that could burst through at any time.

The Eight Quartet was a literal cry of despair, written when Shostakovich was contemplating a suicide that his friends may have only just averted. Here the performance is cold, distant, at times as bleak as the composer’s mood. Even the demonic waltz of the third movement seems repressed.

I like more threat in the ominous thee-chord outbursts—recalling every Soviet citizen’s greatest fear, the KGB’s knock in the middle of the night—but the performance is consistent in its restraint. There is a brief moment of warmth near the beginning of the fifth movement, but that too fades into desolation. It’s not easy to enjoy this music, but this is a performance to admire.

Written four years later, the Ninth Quartet is somewhat sunnier, if not exactly cheerful. This is again music of great complexity, but the Altius plays with a remarkable transparency of texture throughout—you can hear every individual line. Restraint is again the keyword for the performance, and the shifting character of the movements is well delineated.

The disc is more than three works by the same composer: it is a satisfying whole, helped both by the selection of works, moving from anguish to near-manic cheerfulness in the composer’s outlook, and by the Altius Quartet’s keen perception and effective communication of the emotional narrative.

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Myers.CDDavid Lee Myers: Ether Music
Starkland ST-227

Boulder’s Starkland records has released a CD by one of the pioneers of electronic music, David Lee Myers. Also creating under the name Arcane Device, Myers has been constructing his own sound-producing electronic circuitry since 1980 and has more than 30 CDs to his credit.

The winner of Global Music silver medals for Creativity/Originality and Innovation in Sound, Ether Music features “Feedback Music,” comprised of sounds that are entirely generated by electronics—or as the printed notes explain it: “The album’s content spontaneously emerged from Myers’ self-designed, hand-built conglomerations of elaborately interconnected sound processing devices, with no external input.”

From the raw material of electronic hums, pops, clicks, thumps, and other sounds, Myers has crafted ten separate pieces. The different sounds are layered in ways both simple and complex, creating varied and shifting clouds of sound.

I know that not everyone will hear this as “music,” depending on how they define the word, but it is certainly creative use of sound. Like most of Starkland’s releases, hearing it expands the listener’s horizons and opens the ears to new possibilities.

Each track pulls you into a distinct world. Some of these worlds seem familiar, some are exotic, some are hallucinogenic, and they all invite exploration. If Myers’ work has a weakness, it is the difficulty of using electronic sounds to build the tension and subsequent release that comes naturally to tonal music. Lacking a definitive closing gesture to resolve the music’s journeys, many of the tracks simply fade into silence, letting the final mood linger without resolution.

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David Lee Myers

That said, every piece is worth hearing. If you wish to be engaged by new sounds, you should hear the entire CD. Of the ten tracks, the first, implicate order, is a good place to start because the layers of the texture are easily heard in their transformations and interactions. A pulsating, swelling and subsiding electronic drone is overlaid with drum-like clatters and clunks.

The third track, astabilized, is the most obviously derived from electronic feedback, including buzzes, static and electronic insect sounds. The fifth track, arabic science, features pitched drones and lines that sweep up and down the scale. The impression of a distant wailing chorus, birds and insects all invite the imagination to create a dramatic scenario.

The very rhythmic sixth track, the dynamics of particles, starts with bongo-like pops and snaps, soon joined by other pitched pulses that rise and fall in pitch. The steady meter of the drum sounds makes this one of the most purely enjoyable tracks.

Another thoroughly enjoyable track, radial axial, conjures a Fellini-esque world as if from a 1950s movie. A woozy electronic organ is transformed into a theremin—the staple sound of 1950s sci-fi—then a harmonica, then a wheezing calliope before shuffling off into the distance.

It must be great fun to create these pieces, and I find it great fun to sample, either all at once or just the occasional excursion into one or two of Myers’ sound worlds. Whether it adds up to deeper artistry probably depends on your taste and concept of musical art, but no one is likely to remain untouched by the wide creativity contained in this album.

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NOTE: A correction was posted 12.4.17. An earlier version of the story had stated incorrectly that Harberg’s Elegy had been arranged for viola and string by Deubner. It was arranged for Deubner by the composer.

Boulder Symphony presents music inspired by Shakespeare

Two standard works and a world premiere are on the program

Central City Opera announces Magic Flute and Il trovatore for 2018

The Face on the Barroom Floor returns for 40th anniversary production

By Peter Alexander

Mozart’s Magic Flute and Verdi’s Il trovatore, two staples of the operatic repertoire, will be the mainstage productions for Central City Opera’s 2018 summer season.

Central City Opera Opening Night 2006- Page 2 of Book

The Historic Central City Opera House

Magic Flute and Il trovatore will be performed in repertory in Central City’s historic 550-seat opera house. Filling out the season are two smaller productions, to be presented in more intimate venues in Central City during the summer: the 40th-anniversary production of The Face on the Ballroom Floor by Henry Mollicone, which was commissioned by CCO; and Handel’s Acis and Galatea, in its Central City debut production.

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The Face on the Barroom Floor in the Teller House bar

Mollicone’s Face on the Ballroom Floor was premiered in 1978 in the Teller House Bar in Central City, where the painting that inspired the opera still draws tourists. The painting was made in 1936 under disputed circumstances and was inspired by a poem by Hugh Antoine d’Arcy that was published in 1887—and which was itself derived from an even earlier poem by John Henry Titus.

The one-act opera features two love triangles separated by a century, both revolving around the mysterious face on the barroom floor.

Classical Singer LanganThe season will see the return of number of singers in the two mainstage productions. Bass Kevin Langan, last seen in 2013 as Dr. Gibbs in Our Town, returns in his signature role of Sarastro in The Magic Flute. Langan was recently featured on the cover of Classical Singer magazine in recognition of his longevity over 38 years in opera. Katherine Manley returns as Pamina, and Alessandro Talevi returns to Central City as stage director.

Il trovatore will be practically a reunions party for the 2016 production of Tosca, including Jonathan Burton as Manrico, Alexandra Loutsion as Leonora and Michael Mayes as Count di Luna. John Baril, Central City Opera Music Director, will conduct, and Joachim Schamberger will be stage director.

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Pelham (Pat) Pearce

The pattern of presenting two major works in the Opera House and two smaller productions in other venues in Central City is one the CCO has adopted in the past few years. At one time, the shorter works were taken to other cities and towns in Colorado, but Pelham (Pat) Pearce, CCO’s general/artistic director, says “We decided that part of our identity is the actual experience of being (in Central City).”

According to Pearce, keeping the performances in Central City has not affected the company’s success. “The popularity of these one-acts continues to grow,” he says. “They draw opera goers who are looking for something different as well as those who are new to the art form and curious about experiencing something that’s shorter, less expensive, and feels more accessible.”

In addition to the four staged productions, the CCO summer season includes recitals, opera scenes, pre-performance lectures and post-performance opportunities to meet the artists.

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CCOperaLogoPreferred

Central City Opera 2018 Season

Mozart: The Magic Flute
André de Ridder, conductor
Alessandro Talevi, stage director

Cast includes Kevin Langan as Sarastro, Katherine Manley as Pamina. Debuting with Central City Opera: Joseph Dennis as Tamino, Will Liverman as Papageno, Jeni Houser as The Queen of the Night and Ashraf Sewailam as The Speaker.

Matinees at 2:30 p.m.: July 11, 13, 15, 17, 21, 25, 29; Aug. 2, 5
Evenings at 8 p.m.: July 7, 19, 27, 31
Central City Opera House

Performed in German with English supertitles.

Verdi: Il trovatore
John Baril, conductor
Joachim Schamberger, stage director

Cast includes Jonathan Burton as Manrico, Alexandra Loutsion as Leonora, Michael Mayes as Count di Luna and Maria Zifchak as Azucena.

Matinees at 2:30 p.m.: July 18, 22, 24, 28; Aug. 1, 3
Evenings at 8 p.m.: July 14, 20, 26
Central City Opera House

Performed in Italian with English supertitles.

Handel: Acis and Galatea
Christopher Zemliauskas, conductor
Ken Cazan, director

Cast includes artists of the Bonfils-Stanton Foundation Artists Training Program

July 25, 28 and Aug. 1 at 8 p.m.
July 26 at 5 p.m.
Venue in Central City TBA

Performed in English.

Henry Mollicone: The Face on the Barroom Floor, 40th-Anniversary Production
Michael Ehrman, head of the Bonfils-Stanton Foundation Artists Training Program, director

Cast includes artists of the Bonfils-Stanton Foundation Artists Training Program

July 25, 28 and Aug. 1, 2, 3 at 1:15 p.m.
Venue in Central City TBA

Performed in English.

For tickets and more information about the 2018 summer season, visit the Central City Opera Web page, or call (303) 292-6700.

Boulder Chamber Orchestra and soloists delight with rare, youthful works

Performances of music by Mendelssohn and Janáček were ‘charming and expressive’

By Peter Alexander

Last night (Nov. 10), Bahman Saless and the Boulder Chamber Orchestra gave charming and expressive performances of two little known works: Mendelssohn’s Concerto for piano, violin and strings, written when the composer was 14; and Janáček’s Idyll for Strings, written when the composer was 24.

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Bahman Saless and the Boulder Chamber Orchestra. Photo by Keith Bobo.

Both scores have been eclipsed by greater works that came later in the composers’ careers. But last night’s performances were refined and stylish, making a case for the Concerto and the Idyll.

The program and others this year mark a return to genuine chamber orchestra repertoire for the BCO, after an excursion into the large-symphony realm last year. This is a good decision: the BCO sounded better and more comfortably at home with these two works than ever. It is one the best concerts I have heard them give.

Zachary & Mina

Zachary Carrettin and Mina Gajic

The soloists for the Mendelssohn, pianist Mina Gajić and violinist Zachary Carrettin, ripped through their often-virtuosic parts, tossing off Mendelssohn’s adolescent show-off riffs with aplomb. The young Mendelssohn was clearly drawing on classical models for structure and syntax, but he did not hesitate to use more dramatic Romantic gestures for the solo parts.

For example, the Concerto opens with a Mozartian introduction that would not be out of place in the catalog of any Classical composer. The piano then seems to drop in from another planet—call it the world of heroic soloists—entering with stentorian chords and flamboyant arpeggios. Gajić played with complete command, and was matched by Carrettin’s flourishes on the violin.

The mixture of styles is especially evident when Mendelssohn begins to develop his carefully balanced melodies, spinning off into unexpected keys and sudden changes of mood. Writing for himself to perform on piano with his violin teacher, he seems unable to resist showing everything he can do with the material.

Much of the slow movement is a Romanza for the two soloists, which provided some of the best moments. The Finale bounces between light-hearted jollity and stormy outbursts of passion, much as we can imagine the 14-year-old Mendelssohn doing with his own playing. Gajić and Carrettin followed Mendelssohn through every twist and turn, matching one another note-for-note through all the movement’s many scampering scales and runs.

bsaless.1.Keith Bobo

Bahman Saless: Czech in a former life?

Saless and the BCO came into their own with the Janáček Idyll, a suite of seven movements marked with the sweet melancholy and dance rhythms of Czech folk music. Saless spends part of every year in Prague and has said that he must have been Czech in a previous life.

If so, his performance of the Idyll was clear evidence of his identification with Czech culture. His interpretation was sensitive and deeply expressive throughout. Apart from an occasional muddiness in the lowest parts—likely due more to the venue than the players—the performance was exemplary. Though little known, the Idyll contains music of unexpected beauty.

The performance will be repeated, tonight at 7:30 in Boulder’s Seventh-Day Adventist Church. Both pieces are well worth hearing: the Mendelssohn is a delightful glimpse of a young genius at play, brought delightfully to life, and the Janáček is filled with wistful beauty, played with deep expression.

You can order your tickets here. You won’t be sorry.