Pro Musica Colorado will reschedule ‘farewell concert’

Please note that the final concert by the Colorado Pro Musica Chamber Orchestra with conductor Cynthia Katsarelis and guest soloist Nicolò Spera, originally scheduled for April 6, was postponed due to inclement weather and the widespread power outage on that date. The concert will be rescheduled pending the availability of the musicians and the venue. The new date will be announced as soon as arrangements have been confirmed.

You may read the original story here. This is the full program for the concert:

“Nicolò!”
Pro Musica Colorado Chamber Orchestra, Cynthia Katsarelis, conductor
With Nicolò Spera, guitar

  • Jessie Montgomery: Starburst
  • Joaquin Rodrigo: Fantasía para un gentilhombre (Fantasy for a gentleman)
  • Louise Farrenc: Symphony No. 3 in G Minor

Alison Moritz looks back and ahead

New artistic director at Central City has experience and hopes for CCO

By Peter Alexander March 22 at 6:20 p.m.

Alison Moritz’s career in opera started with a hot-air balloon.

The new artistic director of Central City Opera (CCO), Moritz saw her first opera in St. Louis when she was nine. It was Offenbach’s La belle Hélène, a very Parisian spoof of the the story of Helen of Troy. At nine, the innuendo did not make much of an impression. 

“I think the sexual politics went over my head,” she says. “I was just impressed by the hot-air balloon onstage!”

Alison Moritz: Destined for opera?

Balloon or no balloon, she might have been destined for a career in opera. That first experience really clicked with someone who says she was “an indoor kid [who] loved everything artistic. I was really obsessed with story and picture and music.”

Her first ambition was to be a film animator. “I did see an opera when I was nine, and the whole world just made sense to me,” she explains. “It just felt so magical and exceptional, but also incredibly familiar.”

That early sense of familiarity soon led to a near obsession with opera. “When I was in 8th grade I saw my first production of Traviata and I went back and saw it five times! My parents went with me to the first two performances, and after that they would drop me off in the parking lot and say, ’See you three and a half hours.’ 

“I used to say I had to work in opera because I couldn’t afford to see opera as much as I wanted to. I had to find a way to sit in—I never get tired of it.”

Her path into directing was not something that she saw from the outset, however. “Initially, it was not clear what my contribution [to opera] could be,” she says. “When you’re not a singer, at the time I was growing up, there were fewer roles for women in production, there were fewer roles for women in leadership.”

Moritz attended Washington University in St. Louis, where she studied music and art history. She did some work in art administration, and production work backstage, but she thought that might be a hobby and she would work in another field. An internship with Opera America gave her insight into the American opera scene, and while living in New York she attended all the opera and theater that she could afford in standing room.

A turning point came when a friend who went to some performances with her, but did not work in opera, told Moritz, “The way you think about this is someone’s job.”

“That was the first time that I thought maybe I could do this,” she says. “I was really lucky—I went back to school to get  a degree in opera stage direction at the Eastman School of Music. When I arrived there I knew a lot about opera but I had very little experience. And I’m proudly grateful that they saw potential in me, and fostered that.”

From Eastman her career as a stage director has only grown. Today, she can claim directing credits from Lyric Opera of Kansas City, the Glimmerglass Festival, Opera Omaha, Ravinia, Tanglewood, Portland Opera and Opera Colorado, among many others. 

Moritz says that she approaches her work principally through the music. “My job as a director is to really help contemporary audiences see what’s so special about the music,” she says. “It’s really key for the director to bring the story and the visuals and the relationships amongst people and ideas together, so that we’re making a case for these beautiful documents. That’s always been my approach.”

She believes that growing up a Midwesterner—“in a flyover state,” she says—affects her perspective on opera. “I’ve never had the point of view that the only great opera in America is in the largest coastal companies. They’re incredibly important, but to be able to produce things locally and regionally I think is important, and fundamental to what makes Central City such an exciting place to work and to watch opera.

“The other Midwestern thing about me is I’ve always been creative, but through the lens of pragmatism. I know the cost of wood when we’re building the set. We’ve got to make some nitty-gritty decisions in order to be able to make great art. The Midwesterner in me is always looking to see how long will this take to rehearse, how many days do we need to do X, Y and Z, and that keeps me pretty grounded.”

For the coming summer, Moritz already has long established engagements at Cincinnati and Glimerglass in upstate New York, but after this year her new job will mean she has to forego summer directing jobs outside Central City. “This year there’s a little bit of a time-share, [but] I’m really confident that I’ll be able to spend meaningful time with the audiences at the top of the mountain,” she says. “For future seasons, I will be at Central City the entire summer.”

Central City Opera House. Photo by Ashraf Sewailam.

Looking ahead, Mortiz envisions creating cooperative relationships with other opera companies where she might have directing work outside of the Central City season. “I’m excited about the prospect of creating more co-productions [with other companies] and being able to bring the best of American opera here to Central City,” she says. “I’m really optimistic and excited about the future. I’m really happy to have my boots on the ground and to get to work. 

“We’re all very excited to re-imagine and to dream and continue creating a great atmosphere at Central City for both artists and audiences.”

NOTE: Information Central City Opera’s summer 2024 festival season can be found on the CCO Web page.

Alison Moritz appointed artistic director of Central City Opera

An experienced stage director, Moritz will direct one production per season

By Peter Alexander Feb. 20 at 6:10 p.m.

The Central City Opera has announced the appointment of the accomplished stage director Alison Moritz as their new artistic director.

Alison Moritz

Moritz was selected after a national search led by Jonathan West, on behalf of Management Consultants for the Arts and CCO’s volunteer search committee, chaired by Joshua Navarro from the CCO board of directors. The position had been open since the summer of 2023.

In a written announcement, Moritz commented “I am deeply honored to join Central City Opera as the new artistic director. My previous experiences with the company have been incredibly rewarding, and I am excited to build upon that foundation as we embark on this new chapter together.”

CCO president and CEO Scott Finlay stated, “I’m thrilled to welcome Alison Moritz to Central City Opera as our new Artistic Director! Her talent and vision align perfectly with our goals, and I couldn’t be more excited to have her on board.”

Moritz has previously appeared as stage director at CCO, including the 2019 production of Puccini’s Madama Butterfly. As AD she will oversee the company’s artistic and production staff for the upcoming 2024 Festival (June 29–Aug. 4; see the CCO Web page for more information), and will direct one production per season starting with the 2025 Festival. 

Moritz’s recent productions have been described as “enchantingly cheeky” (Washington Post), “elegantly sexy” and “raw, funny, surreal, and disarmingly human” (Opera News). She has recently directed productions for Washington National Opera, Lyric Opera of Kansas City, the Glimmerglass Festival, Opera Omaha, Ravinia, Tanglewood, Bard Music Festival, and Portland Opera. Previous engagements have been on the directing staffs at Santa Fe Opera, Seattle Opera, Opera Theatre of St. Louis, Minnesota Opera, Atlanta Opera, and Wolf Trap Opera.

Moritz succeeds former AD Pamela Pantos, who was released from the position in July 2023, and Pelham (Pat) Pearce, who had been AD for 26 years when he left the post in 2022.

Colorado Music Festival announces summer festival schedule

Subscriptions now available; single tickets on sale March 5

By Peter Alexander Feb. 4 at 4 p.m.

The Colorado Music Festival (CMF) has announced its 2024 festival season, July 5 through Aug. 4 at Chautauqua Auditorium in Boulder.

Chautauqua Auditorium. Photo by Jeremy Kornreich

This year’s festival will present 19 performances in 31 days—between four and five weeks and slightly shorter than recent previous festival seasons. In addition to the Festival Orchestra made up of musicians from around the country, it will feature the world premiere of a new piece by Gabriela Lena Frank; four Tuesday evening concerts on the Robert Mann Chamber Music Series, performed by members of the Festival Orchestra and the visiting Danish String Quartet; and guest artists including the CU-based Takács Quartet, cellist Alisa Weilerstien, and returning CMF favorites pianist Olga Kern and violinist Augustin Hadelich.

Performances by the full Festival Orchestra will be most Thursday and Friday evenings at 7:30 and 6:30 p.m. respectively. Orchestral concerts at 6:30 p.m. on Sunday will generally feature a smaller ensemble. The full festival schedule is listed below.

Gabriela Lena Frank

A highlight of the season will be the premiere of a new orchestral work with string quartet by Franks on July 21 (see details below). The summer’s only world premiere, the performance will feature the Takács Quartet. Other works by living composers will be featured throughout the summer, including Masquerade by Anna Clyne; Short Ride in a Fast Machine by John Adams, who was CMF composer-in-residence in 2022; Two Mountain Scenes by Kevin Puts, a work that was commissioned by the Bravo! Vail Valley Music Festival and the New York Philharmonic in 2007; and Joan Tower’s Concerto for Orchestra.

Anton Bruckner

On July 14 conductor Peter Oundjian and the CMF Orchestra will celebrate the 200th anniversary of the birth of Austrian composer Anton Bruckner with a performance of his Symphony No. 4 (“Romantic”). On the same program CMF will celebrate the 150th anniversary of Arnold Schoenberg’s birth with a performance of his late Romantic work for strings Verklärte Nacht (Transfigured Night). 

The annual CMF family concert at 10:30 a.m. Sunday, July 7, will feature some shorter standard classical overtures by Mikhail Glinka and Mendelssohn, as well as a performance of composer Rob Kapilow’s setting of Dr. Seuss’s Green Eggs and Ham. Also on the program is Three Fun Fables, a setting for narrator and orchestra of three of Aesop’s fables by Daniel Dorff, who is known for numerous works that introduce music and musical instruments to young audiences.

Alisa Weilerstein. Photo by Marco Borggreve

Outstanding guest artists have always been a feature of the CMF. This summer’s guest soloists will be:
—Cellist Alisa Weilerstein, a member of a renowned musical family, playing the Dvořák Cello Concerto on the opening night program, July 5 and 7;
—the playful ensemble Really Inventive Stuff, a favorite on past CMF summer schedules, and the mezzo-soprano Jennifer DeDominici for the family concert July 7;
—violinist Vadim Gluzman playing the Prokofiev Second Violin Concerto July 9;
—pianist Olga Kern playing the Rachmaninoff Second Piano Concerto July 18 and 19;
—Colorado Public Radio personality Kabin Thomas narrating Greig’s music for for Henrik Ibsen’s verse play Peer Gynt, alsoJuly 18 and 19;
—the Takács Quartet playing the world premiere of Gabriel Lena Frank’s new work July 21;
—pianist Awadagin Pratt, playing J.S. Bach’s Keyboard Concerto in A major and Jessie Montgomery’s Rounds for piano and string orchestra July 25 and 26;
—the Danish String Quartet, who last appeared at CMF in 2022, playing a varied program that ranges from Haydn to Stravinsky to the 18th-century blind Celtic harpist Turlough O’Carolan July 30;
—violinist Augustin Hadelich, returning to CMF to play Tchaikovsky’s Violin Concerto Aug. 1 and 2; and
—soprano Karina Gauvin to sing Ravel’s song cycle Shéhérazade and the final movement of Mahler’s Symphony No. 4 on the Festival Finale concert, Aug. 4.

Subscription tickets are currently available for the Colorado Music Festival. Tickets to individual concerts will go on sale through the Chautauqua Box Office March 5. More information on CMF tickets, including discounted youth and student tickets, is available HERE.

# # # # #

Colorado Music Festival, Peter Oundjian, music director
Summer 2024
All performances in Chautauqua Auditorium

Opening Night
Festival Orchestra, Peter Oundjian, conductor
With Alisa Weilerstein, cello

  • Anna Clyne: Masquerade (2013)
  • Dvořák: Cello Concerto in B minor
  • Mendelssohn: Symphony No. 4 in A major (“Italian”)

6:30 p.m. Friday and Sunday, July 5 and 7

Family Concert: Green Eggs and Ham
Festival Orchestra, Jacob Joyce, conductor 
With Really Inventive Stuff and Jennifer DeDominici, mezzo-soprano 

  • Glinka: Overture to Ruslan and Ludmilla
  • Daniel Dorff: Three Fun Fables
  • Mendelssohn: Overture to A Midsummer Night’s Dream
  • Rob Kapilow: Green Eggs and Ham

10:30 a.m. Sunday, July 7

Robert Mann Chamber Music Series
Colorado Music Festival musicians 

  • Ernst von Dohnányi: Sextet in C Major
  • Beethoven: “Duet with two Obligato Eyeglasses” in E-flat major for viola and cello, WoO 32
  • Schumann: Piano Quartet in E-flat Major, op. 47

7:30 p.m. Tuesday, July 9

Festival Orchestra Concert
Festival Orchestra, Peter Oundjian, conductor
With Vadim Gluzman, violin

  • John Adams: Short Ride in a Fast Machine
  • Prokofiev: Violin Concerto No. 2 
  • Stravinsky: Rite of Spring

7:30 p.m. Thursday July 11
6:30 p.m. Friday, July 12  

Bruckner Bicentennial Concert
Festival Orchestra, Peter Oundjian, conductor

  • Arnold Schoenberg: Verklärte Nacht (“Transfigured night”), op. 4
  • Anton Bruckner: Symphony No. 4 (“Romantic”)

6:30 p.m. Sunday, July 14

Robert Mann Chamber Music Series
Colorado Music Festival musicians 

  • Carl Nielsen: Wind Quintet, op. 43
  • Schubert: String Quintet in C Major, D956

7:30 p.m. Tuesday, July 16

Festival Orchestra Concert
Festival Orchestra, Rune Bergmann, conductor
With Olga Kern, piano, and Kabin Thomas, narrator

  • Vivian Fung: Prayer
  • Rachmaninoff: Piano Concerto No. 2, op. 18
  • Edvard Grieg: Suites from Peer Gynt

7:30 p.m. Thursday, July 18
6:30 p.m. Friday, July 19

Festival Chamber Orchestra Concert
Festival Orchestra, Peter Oundjian, conductor
With the Takács Quartet and Gabriela Lena Frank, composer 

  • Florence Price: Adoration
  • Gabriela Lena Frank: World Premiere
  • Joan Tower: Concerto for Orchestra

6:30 p.m. Sunday, July 21

Robert Mann Chamber Music Series
Colorado Music Festival musicians

  • Joseph Haydn, String Quartet in C Major, op. 20 no. 2
  • Claude Debussy, Sonata for flute, viola and harp
  • Felix Mendelssohn, String Octet in E-flat Major, op. 20

7:30p.m. Tuesday, July 23

Festival Orchestra Concert
Festival Orchestra, Peter Oundjian, conductor
With Awadagin Pratt, piano

  • J.S. Bach: Keyboard Concerto in A major, S1055 
  • Jessie Montgomery: Rounds for piano and string orchestra (2022)
  • Rimsky-Korsakov: Scheherazade

7:30 p.m. Thursday, July 25
6:30 p.m. Friday, July 26

Festival Chamber Orchestra Concert
Chamber Orchestra, Gemma New, conductor
With Christina and Michelle Naughton, piano duo

  • Mozart: Eine kleine Nachtmusik, K525
    —Concerto in E-flat Major for Two Pianos, K365
    —Symphony No. 35 in D major, K385 (“Haffner”)

6:30 p.m. Sunday, July 28

Robert Mann Chamber Music Series
Danish String Quartet 

  • Joseph Haydn: String Quartet, op. 77 no. 2: III, Andante
  • Stravinsky: Three Pieces for String Quartet
  • Turlough O’Carolan: Three Melodies
  • Mozart: Divertimento in F major, K138
  • Shostakovich: String Quartet No. 3 in F major, op. 73

7:30 p.m. Tuesday, July 30

Festival Orchestra Concert
Festival Orchestra, Peter Oundjian, conductor
With Augustin Hadelich, violin

  • Kevin Puts: Two Mountain Scenes (2007)
  • Tchaikovsky: Violin Concerto in D Major, op. 35
  • Dvořák: Symphony No. 7 in D minor, op. 70 

7:30 p.m. Thursday, Aug. 1
6:30 p.m. Friday, Aug. 2

Festival FInale Concert
Festival Orchestra, Peter Oundjian, conductor
With Karina Gauvin, soprano

  • Johann Strauss: Overture to Die Fledermaus
  • Ravel: Shéhérazade
  • Mahler: Symphony No. 4 in G major

6:30 p.m. Sunday, Aug. 4

Information on Subscription tickets is available HERE.
Single concert tickets will go on sale March 5.

NOTE: A correction was made Feb. 10. An earlier version of the story said that the 2024 festival would last four weeks. The correct length is 31 days—between four and five weeks.

Central City Opera will be inducted into Colorado Music Hall of Fame

Induction ceremony will be July 29 in Central City

By Peter Alexander Feb. 2 at 2:16 p.m.

The Central City Opera (CCO) will be inducted in the Colorado Music Hall of Fame, in the Hall’s first “destination induction,” to be held in Central City on Saturday, June 29.

In addition to the company, opera singer/professionals Cynthia Lawrence and Keith MiIller, and CCO’s late conductor/artistic director John Moriarty will also be inducted into the Hall of Fame. Under the title “Opera in the High Country,” the ceremony in Central City will be hosted jointly by CCO and the City of Central, and will take place in conjunction with the opening night of a CCO production of Gilbert and Sullivan’s Pirates of Penzance.

Scott Finlay, CCO’s president and CEO commented in a news release, “We are deeply honored to be receiving this recognition. Central City Opera’s 92 years of rich musical heritage is a testament to the dedication of our supporters, volunteers, artists, and staff who have made this milestone possible. This distinction is a tribute to their commitment.”

Interior view of Central City Opera’s historic opera house

Officials from the Hall of Fame and the City of Central also released statements. Karen Radman, executive director the Colorado Music Hall of Fame, wrote: “Colorado Music Hall of Fame is honored to be presenting an opera-themed induction class for the first time, recognizing the important contributions that opera has made in music while expanding to a new musical genre for our inductees. Opera in the High Country, focused around the impressive and historic Central City Opera and those whose careers were influenced by it, also expands The Hall of Fame’s reach into the Colorado mountains.”

Central City Mayor Jeremy Fey wrote: “It is a great honor for Central City to host Colorado Music Hall of Fame. We are especially proud as Central City Opera, a pillar of Colorado’s cultural landscape for 92 years, leads the 2024 class of inductees.”

VIP tickets that include a reception, dinner and seating for the induction ceremony, as well as the CCO performance of Pirates of Penzance, are available through the CCO box office

Founded in 1932, Central City Opera is the fifth oldest opera company in the United States. With major performances in the Central City Opera House, a National Historic Landmark that predates the opera company by 54 years, the company offers an annual of summer festival of opera and classic music theater, as well as smaller events in Central City. CCO’s Bonfils-Stanton Foundation Artists Training Program, founded by Moriarty in 1978, contributes to the professional development of young artists, many of whom go on to major operatic and musical theater careers. 

Boulder Opera children’s performance is sold out

Free Sunday performance at the Boulder Public Library is full

By Peter Alexander Jan. 24 at 3:10 p.m.

Chris Pratorius Gómez

Boulder Opera’s upcoming performance of the children’s opera Xochitl and The Flowers by Chris Pratorius Gómez is sold out.

That is, all of the tickets for this free performance have been claimed. One of three children’s operas Pratorius Gómez wrote for the Hands-On-Opera project of Opera Parallèle in San Francisco, Xochitl and The Flowers is a bilingual opera sung in both Spanish and English. The plot is based on true events that took place in San Francisco’s Mission neighborhood, about an immigrant family’s determination to put down roots while preserving their native heritage. 

The performance will include an explanation of opera and the plot and an art activity for children making cutout flowers. 

While this performance is already full, Boulder Opera has plans to tour Xochitl and The Flowers next season.

# # # # #

Boulder Opera—SOLD OUT

  • Chris Pratorius Gómez: Xochitl and The Flowers

3 p.m. Sunday, Jan. 28
Boulder Public Library Canyon Theater

SOLD OUT: Free tickets have all been claimed

Those we lost in 2023

Notable musicians who have died over the past 12 months

By Peter Alexander Dec. 28 at 5:42 p.m.

Now is the time to reflect on the past year, and among the many good things we all can recall there are losses, as well. The following list is necessarily incomplete, and likely represents my personal interests, as it includes a few people that I knew personally. Readers are encouraged to add any names they want in the comments section.

Dec. 31, 2022: Anita Pointer, the lead vocalist of the Pointer Sisters, the popular Grammy-winning vocal group of the 1970s and ‘80s that comprised Anita with her sisters Ruth, Bonnie and June and their band, whose recorded hits includes “Slow Hand,” “I’m So Excited,” “Dare Me” and “Yes We Can Can,” 74

Jan. 10: Jeff Beck, rock guitarist who is considered one of the most skilled and influential guitarists in rock history, who succeeded Eric Clapton in the Yardbirds and later formed his own band, The Jeff Beck Group featuring the singer Rod Stewart, and who also had a significant solo career, 78

Jan. 12: Lisa Marie Presley, a singer-songwriter who aimed to create her own sound and also pay homage to her famous father, Elvis; who not only lost her father when she was nine, but also her former husband, Michael Jackson, and her son, Benjamin Keough, and who appeared at the Golden Globes award ceremony only two days before her death, 54

David Crosby

Jan. 19: David Crosby, the singer-songwriter-guitarist and founding member of the Byrds and Crosby, Stills and Nash (later Crosby, Stills, Nash and Young), and two-time inductee into the Rock & Roll Hall of Fame, who struggled with addictions but continued to record until last year, 81

Feb. 8: Burt Bacharach, composer, arranger, conductor and record producer, winner of two Academy Awards for film scores, whose upbeat hit songs including “The Look of Love,” “What the World Needs Now is Love” and “Raindrops Keep Fallin’ on my Head” were part of the 1960s, 94

Feb. 14: Friedrich Cerha, Austrian composer and conductor who took on the difficult task of completing Alban Berg’s unfinished opera Lulu, considered one of the greatest operatic works of the 20th century, who was himself the composer of several operas and other stage works, as well as orchestral and chamber music, 96

Topol as Tevye

March 2: Wayne Shorter, saxophonist who contributed to the modern jazz style from the 1960s on, working with two of the leading groups of times, Art Blakey’s Jazz Messengers and the Miles David Quintet; and later as a leader of Weather Report and in collaborations with Joni Mitchell, Carlos Santana and Steely Dan, 89

March 9: Chaim Topol, known simply by his last name, the Israeli actor who sang and acted his way through more than 3,500 performances as Tevye in the beloved musical Fiddler on the Roof starting with the 1971 movie version and including a 1990 Broadway revival, and also appeared in films including Galilleo (1975) and the James Bond flic For Your Eyes Only with Roger Moore (1981), 87

Virginia Zeani as Aida

March 20: Virginia Zeani, Romanian soprano who sang 69 roles over her 34-year operatic career, at La Scala, the Met, and other major houses worldwide, including an astonishing 648 performances as Violetta in Verdi’s La Traviata, who originated the role of Blanche in Poulenc’s Dialogues of the Carmelites in 1957, and who passed on her skill as a teacher at Indiana University (1984–2002) and later from her home in Florida, 97

March 25: Christopher Gunning, British composer, arranger and conductor, best known in England for his music for film and television, whose Symphony No. 10 was performed on the same program with Mahler’s Symphony No. 3 as part of Colorado MahlerFest XXXV last year in Macky Auditorium, 78

Blair Tindall

April 12: Blair Tindall, accomplished freelance oboist and later journalist, author of Mozart in the Jungle: Sex, Drugs and Classical Music, a salacious memoir that led to a television series; whose candor or exaggerations, depending on your point of view, divided critics while the author always said she intended serious points about the classical music world, 63

April 17: Ahmad Jamal, jazz pianist who won a lifetime achievement Grammy and a National Endowment for the Arts Jazz Master award, and whose spare style influenced artists including Miles Davis, 92

April 19: Otis Redding III, son of the legendary soul singer who formed the funk band The Reddings with his brother, Dexter, in the 1980s, and who was often asked to sing his father’s songs including “Sitting on the Dock of the Bay,” 59

Harry Belafonte

April 25: Harry Belafonte, smooth-voiced American singer who smashed racial barriers in the 1950s and ignited the craze for Caribbean music with songs including “Day-O (The Banana Boat Song)” and “Jamaica Farewell,” who also starred in several movies and continued to perform into the 21st century, and who concentrated on Civil Rights later in his life at least as much as his entertainment career, 96

May 1: Gordon Lightfoot, Canadian folksinger known for “The Canadian Railroad Trilogy” and the perennial November favorite “The Wreck of the Edmund Fitzgerald,” who was inspired to join the folk music scene in Toronto in the 1960s, went on to international recognition, continued to perform even after a mild stroke in 2006, and recorded his final album in 2020, 84

Menahem Pressler

May 6: Menahem Pressler, distinguished professor of piano at the Indiana University Jacobs School of Music and founding member of the renowned Beaux Arts Trio, of which he was the heart and soul for more than 50 years and with whom he recorded nearly all of the piano trio repertoire, who fled from his native Germany to Israel in 1939 and joined the Indiana faculty in 1955, where he taught until his death, and who continued to tour as soloist and chamber musician until 2018, 99

May 7: Grace Bumbry, courageous and ground-breaking mezzo-soprano who became one of the first Black opera stars, who created a scandal by singing Venus in Wagner’s Tannhäuser at Bayreuth in 1961, which led to a performance at the White House, a contract with impresario Sol Hurok, major mezzo and soprano roles around the world, and more than 200 appearances at the Metropolitan Opera, 86

May 14: Ingrid Haebeler, Viennese pianist known for her performances and recordings of music by Mozart who gave her first public performance at 11 and later studied at the Mozarteum in Salzburg, was featured on many recordings of Mozart and other composers, most recently a boxed set, “Ingrid Haebeler: The Philips Legacy,” released by last year by Decca; believed to be 96

May 24: Tina Turner, soul and rock singer of vast energy since the 1960s, who came to prominence in the Ike and Tina Turner Revue with major tours in the late ‘60s, suffered a setback following her breakup with husband Ike Turner but returned to stardom in the 1980s after her recording “What’s Love Got to Do With It” won three Grammies in 1985, later recognized by the Guinness Book of World Records as having appeared live before more people than any other individual artist, 83

Kaija Saariaho

June 2: Kaija Saariaho, Finnish composer whose opera L’Amour de Loin (Love from afar) broke a 2013-year absence of female composers at the Metropolitan Opera in 2016 and propelled her to international renown, a minor celebrity in her home country where she was often recognized on the street, known for creating works that challenged traditional forms and genres while remaining accessible, 70

June 4: George Winston, pop-music pianist who played what he called “rural folk piano” and others described as “new age,” whose albums of soothing instrumentals carried titles referring to seasons and nature including “Autumn”—his 1980 breakthrough hit on the Windham Hill label—“Sea,” “Woods,” and “December”; 74

June 5: Astrud Gilberto, sexy-voiced Brazilian singer whose first recording ever made her famous world wide, performing the bossa nova hit “The Girl from Ipanema” by her then husband João Gilberto with saxophonist Stan Getz in 1963, a recording that won the Grammy Award for record of the year and eventually sold more than a million copies, 83

     Sheldopn Harnick

June 23: Sheldon Harnick, lyricist for memorable Broadway shows including Tony-award winners Fiddler on the Roof and Fiorello! which he created with composer Jerry Bock, as well as the musical She Loves Me, which was based on the same play as the movie You’ve Got Mail, and other shows, and who also wrote and translated opera librettos, 99

July 6: Graham Clark, English tenor who sang a wide variety of roles from Mime in Rheingold and Siegfried to the Captain in Wozzeck and Almaviva in Barber of Seville, at the English National Opera, Covent Garden, the Bayreuth Festival, and the MET where he sang 82 times over 15 seasons, including Bégearss in the 1991 world premiere of John Corgiliano’s Ghosts of Versailles, 81

July 6: Peter Nero, concert pianist and consummate showman who combined classical and pops and light jazz, whose banter with the audience earned a large and devoted following, who appeared with Frank Sinatra, Mel Tormé, Johnny Mathis and others, released 72 albums and conducted the Philly Pops for 34 years, mixed Liszt, Prokofiev and the American songbook on his programs, and wrote a cantata based on The Diary of Anne Frank, 89

Andre Watts

July 12: André Watts, Black American pianist and classical music superstar who rose to fame starting with an appearance with Leonard Bernstein and the New York Philharmonic at the age of 16 in 1963, who won a Grammy the following year, performed at White House state dinners in addition to his solo and orchestral appearances on tour, and joined the faculty of the Indiana University Jacobs School of Music in 2004, 77

July 21: Tony Bennett (born Anthony Dominick Benedetto), a quintessential interpreter of the American songbook and other musical standards over a career of more than 70 years, performing concert and club dates, making more than 150 recordings, who joined other entertainers to participate in the Selma-to-Montgomery Civil Rights March in 1965, performed at the While House of presidents Kennedy and Clinton, at Buckingham Palace for Queen Elizabeth and for Nelson Mandela in South Africa, and who continued to perform into his 90s in spite of the onset of Alzheimer’s, notably with Lady Gaga in 2021 for his last public performance, 96

About July 25: Sinead O’Connor, outspoken Irish singer/songwriter whose 1990 Grammy- winning album “I Do Not Want What I Haven’t Got” included a cover of Prince’s “Nothing Compares 2 U,” which became a world-wide hit; whose strong political stances led to controversy, especially in 1992 when she tore up a portrait of Pope John Paul II on “S.N.L.” as protest against sexual abuse in the Catholic Church, and whose mental health struggles were well documented and publicly acknowledged by the singer, 56

Aug. 9: Robbie Robertson, Canadian musician who was lead guitarist and composer for The Band, often celebrated for his ability to capture a vision of rural and Southern America that came to be known as Americana, in such songs as “The Night They Drove old Dixie Down,” “Up On Cripple Creek” and “The Weight,” 80

Aug. 11: Tom Jones, the lyricist who with composer Harvey Schmidt wrote The Fantasticks, a musical comedy that opened in Greenwich Village in 1960 and ran for 42 years, making it the longest running musical in history; who also wrote the lyrics to 110 in the Shade and I Do! I Do!, other collaborations with Schmidt, 95

Renata Scotto

Aug. 16: Renata Scotto, brilliant Italian soprano who was a favorite at the Metropolitan Opera with more than 300 performances in 26 roles, and who was renowned for her acting as well as her singing in major roles including Cio-Cio San in Madama Butterfly, Mimi in La Bohème and Violetta in La Traviata, and who was also known for her fiery temperament, 89

Aug. 19: Gloria Coates, composer of 17 idiosyncratic symphonies including works subtitled “Music on Open Strings” and “Music in Microtones,” known particularly for her use of glissandi, a Wisconsin native who lived most of her adult life in Germany, where she curated a concert series of American contemporary music, 89

Jimmy Buffett

Sept. 1: Jimmy Buffett, singer/songwriter who celebrated the beach-bum life of the Caribbean and the Gulf Coast, leader of a group of like-minded fans known as “Parrot Heads,” with hits including “Margaritaville” and “Cheeseburger in Paradise,” backed by the Coral Reefer Band that gave his songs an easy-going blend of calypso, country and rock, and who became a multi-millionaire with a business empire of restaurants, hotels, tequila, t-shirts and footwear, 76

Sept. 30: Russell Batiste Jr., drummer who was a vital part of the New Orleans funk and R&B scene, member of a celebrated musical family who started playing with the family band at the age of 6, known for playing with a ferocity that sometimes broke his foot pedals with bands including Russell Batiste and the Orchestra From Da Hood and a trio named for the Cy Young Award-winning pitcher Vida Blue, 57

Sept. 30: Russell Sherman, an American pianist and music educator who was the first American to record the complete Beethoven sonatas and concertos for piano but also recorded other composers from Liszt to Schoenberg as well as new pieces composed for him, who performed with major orchestras in the US and abroad, and who gave his last recital five years ago at the age of 88, 93

Oct. 11: Rudolph Isley, one of the Isley Brothers from their breakthrough in 1959 until he left the group in 1989 to pursue a career in the ministry, who was both a harmony singer in the group and co-writer of many of their hits, and was known for making fashion statements by wearing hats and furs and carrying a jeweled cane, 84

Carla Bley

Oct. 17: Carla Bley, prolific jazz composer, arranger and pianist known for everything from delicate miniatures to rugged fanfares, who was considered an avant-garde musician early in her career and continued to surprise thereafter, whose jazz-rock opera Escalator Over the Hill won the Grand Prix du Disque in 1973, 87

Oct. 25: Zdenek Macal, Czech-born conductor who performed around the world, including visits to the United States where he led the New Jersey Symphony 1992–2003 and guest conducted the Chicago Symphony, as well as other major orchestras world-wide; known for his performances of late Romantic composers including his fellow-Czech Dvořák, 87

Nov. 2: Yuri Temirkanov, Russian conductor who was music director of the St. Petersburg Philharmonic 1988–2022 as well as the Baltimore Symphony 2000–2006 and artistic director of the Kirov opera, known especially for his leadership of the Russian repertoire, including Shostakovich, whom he knew, as well as Tchaikovsky and Prokofiev, 84

David Del Tredici

Nov. 18: David Del Tredici, Pulitzer Prize-wining composer known first in the 1960s as an experimental composer who set works of James Joyce; in the 1970s and ‘80s as an exponent of “new romanticism” in a series of works based on Lewis Carrol’s “Alice” books, culminating in the hour-long “Final Alice” for soprano and very large orchestra (1975), and in the early 2000s, a series of works about gay sexuality, 86

Nov. 19:  Colette Maze, French pianist who began lesson at the age of 5, later studied with Alfred Cortot and Nadia Boulanger, who recorded her first album at the age of 90, became an internet sensation at 105, and became the oldest pianist ever to record an album, “109 ans de piano” (109 years of piano), released just this year and featuring music of Gershwin, Debussy and others, 109

Nov. 29: Mildred Miller (Posvar), an American mezzo who sang Mozart’s Cherubino at the Metropolitan Opera 61 times and many other mezzo roles, famously recorded a definitive Das Lied ben der Erde with Bruno Walter, and after retirement from the Met co-founded the Opera Theater of Pittsburgh, 98

Richard Gaddes

Dec. 12: Richard Gaddes, founding director of the St. Louis Opera Theater who led that company from 1976 to ’85, and was general director of the Santa Fe Opera 2000–08, succeeding founder John Crosby, winner of the Opera Honors Award from the National Endowment for the Arts (2008), known for having introduced important artists to the U.S. including soprano Kiri Tr Kanawa and mezzo-soprano Frederica von Stade, 81

DEc. 15: Eduardo Villa, American tenor who came to opera from a career in musicals, studied voice at USC and with Margaret Harshaw, won the Metropolitan Opera Auditions in 1982, and had contracts in Basel, Paris and Munich before singing 25 performances in 10 different roles at the Met, 70

Dec. 17: Buddy Baker, trombonist from Indiana who toured with both Stan Kenton and Woody Hermann, later established the jazz program at the Indiana University School of Music, taught at the University of Northern Colorado, played in the Greeley Philharmonic for 33 years, and served as president of the International Trombone Association, 91

Central City Opera looks to the future

Summer 2024 Festival calendar has been set, and the new CEO is thinking ahead

By Peter Alexander Dec. 7 at 10:45 a.m.

Things are definitely back on track at Central City Opera (CCO).

Opening Night at Central City Opera. From “Theatre of Dreams, The Glorious Central City Opera- Celebrating 75 Years.“

The labor unrest from last summer has been settled, and the summer season for 2024 has been officially set and announced. A new CEO is in place, and a search is underway for a new artistic director, replacing Pelham (“Pat”) Pearce, who led the company for more than 20 years. And with things on an even keel, the CCO administration and artistic staff are looking to the future.

The 2024 season will comprise three major productions. As announced previously, the three shows will be Gilbert and Sullivan’s Pirates of Penzance, one of the most popular of the G&S operettas; Puccini’s American frontier fable Fanciulla del West (Girl of the Golden West), transported from the California gold fields of 1849 to the Colorado Gold Rush days in Central City a decade later; and Street Scene, a hybrid opera/musical by Kurt Weill about New York tenement life, based on Elmer Rice’s Pulitzer Prize-winning play of the same name, with lyrics by Langston Hughes.

Since the three productions were announced last summer, CCO has established the full schedule for the summer’s performances, which is listed below. Subscription sales for the summer will begin Jan. 1, and single tickets will go one sale April 1.

Scott Finlay

In the meantime, new CEO Scott Finlay “sees blue skies on the horizon” for the company, he says. “There’s a lot of support out there for CCO and folks are very excited on the future here, and that feels good.”

Finlay came to CCO in 2010 as a grant writer and later associate director of development. After a stint as senior director of development at the CU College of Music, he returned to CCO as vice-president for development, the position he held until he was selected CEO last summer.

Everyone on the artistic side of the company that I have spoken with was enthusiastic about Finlay’s appointment. Coming after a period of uncertainty, his experience as the company’s development officer, together with his background both as a singer and as a fundraiser, is the kind of reassuring presence that CCO needs.

Ken Cazan, who has stage directed numerous productions at CCO, wrote in an email, “I am happy that someone as positive and supportive as Scott Finlay will be the new CEO of CCO. Scott has been a stalwart fundraiser for CCO on and off for years and a friend to all of the artists who have worked there. I hope and believe that he will be able to lead CCO into a new and adventurous era, free and clear of the baggage that was left behind.”

Ashraf Sewailam, who has both sung and stage directed for CCO, is very clear about his feelings. “I think he is the perfect choice,” he says. “He already has established relationships (with CCO’s supporters) and he can only stand to improve on that. And he’s a good person. He wants to serve well the art form as well as the establishment that he works for.”

Finlay says that all the feedback he received after his appointment was positive. “I’ve received a lot of e-mails and calls and facebooks posts from artists, and they are optimistic that we are moving in the right direction,” he says. 

That’s important in the wake of last year’s labor issues. Addressing the fallout from those events, Finlay says “It’s no secret to anyone that we’ve gone through a couple of years of rocky starts and stops, especially with the AGMA (American Guild of Musical Artists union) negotiations that were going on at the beginning of the year. And I’m happy to report that we are on a different page and a different chapter with them now. 

“I think that my relationships and my leadership and reputation will reinforce and shore up the trust that (the artists) have with this company.”

Looking to the future, Finlay sees the hiring of a new artistic director as the next milestone for the company. “We launched that search and it’s ongoing right now. I’m excited to see who the candidates are and where we might be moving forward.”

Of first importance is the artistic quality of the company, of course, but Finlay recognizes other attractions that make Central City Opera unusual. “We are known for artistic excellence, we put a fantastic product on the stage,” he says. “But the real juju for this company is the setting. . . . The location plays a large role in your experience of the art form.”

Looking farther into the future, Finlay knows where he wants CCO to be in five or 10 years. “We’ve got to explore alternative revenue streams, that’s one thing. Without financial stability we can’t do anything artistically. So my first job is to get us financially stable. The City of Central is going through somewhat of a renaissance right now, there are some businesses coming in, lots of construction, lots of renovation of the old buildings. I think that there’s some opportunity up there.”

Apart from the business side of his job, Finlay remains committed to opera, both as an art form and as a part of the community where it takes place. Engagement with the public around the themes of the operas being presented, is definitely part of his plan. “Community engagement is critical for us,” he says. “I really want to see that our work is meaningful.

“One of the things that I have been saying for a long time and I hope I get to say louder now, is that we as Central City Opera have a job. We hope that we can make people lovers of Central City Opera, but I think that we should try to make people lovers of opera. Opera matters, and we’re the ones who have to put that out there.”

Just one more thing: Finlay is committed to the health of CCO as an organization and the quality of the workplace. “We’ve gone through a couple of years, and we’ve lost a lot of staff, a lot of good people, and I’m excited to turn that tide and move things forward in a different kind of motion,” he says. “I want people to love working here, and I think I can do that.

“I want to make this the best place to work in the Denver area.”

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Central City Opera
Summer 2024 Festival Season

Central City Opera House Interior

Sir Willam Gilbert and Sir Arthur Sullivan: Pirates of Penzance

7:30 p.m. Saturday, June 29; Saturday, July 20; Saturday, July 27; 

2 p.m. Wednesday, July 3; Friday July 5; Sunday, July 7; Saturday, July 13; Tuesday, July 16; Wednesday, July 24; Friday, Aug. 2

Giacomo Puccini: La fanciula del West (Girl of the golden West)

7:30 p.m. Saturday, July 6; Saturday, Aug. 3

2 p.m. Wednesday, July 10; Friday, July 12; Sunday, July 14; Friday, July 19; Saturday, July 21; Tuesday, July 23; Saturday, July 27; Wednesday, July 31

Kurt Weill: Street Scene

7:30 p.m. Saturday, July 12

2 p.m. Wednesday, July 17; Saturday, July 20; Friday, July 26; Sunday, July 28; Tuesday, July 30; Saturday, Aug. 3

Current subscribers may renew their subscriptions now through Dec. 8. Renewal packets will be sent by mail.

New subscriptions will go on sale Jan. 1, 2024, and may be ordered HERE, or call the box office at 303-292-6700.

Single tickets will go on sale April 1, 2024, through the CCO WEB PAGE, or call the box office at 303-292-6700.

Central City Opera announces Scott Finlay as CEO

Search for permanent Artistic Director to get under way

By Peter Alexander Oct. 6 at 12:50 p.m.

The board and leadership of Central City Opera (CCO) yesterday announced the appointment of Scott Finlay as president and CEO of the opera company.

Finlay has been with Central City Opera for 12 years, most recently as vice-president of development. In announcing Finlay’s appointment, the company said that they will now begin a national search for a new artistic director—a position that has been open since the resignation of Pat Pearce from CCO leadership in June, 2022. That search will be led by Management Consultants for the Arts, a longstanding consulting firm that has clients large and small throughout the United States, from the Chicago Symphony to the Napa Valley Opera House in California.

Scott Finlay

In CCO’s news release, Finlay wrote “I am deeply honored to assume the position of President & CEO at Central City Opera. This institution’s legacy is unparalleled, and I am committed to honoring its past while embracing the necessary changes to ensure a vibrant and sustainable future. I am excited about the possibilities that lie ahead and the opportunity to lead CCO into a new era.”

CCO board co-chair Heather Miller writes, “[Finlay’s] dynamic leadership and tenure with the company make him the perfect fit for us. He brings a deep understanding of the organization from both the artistic and administrative sides. We are looking forward to seeing Scott, and the company flourish.”

Finlay succeeds former CEO Pamela Pantos, who was employed by the company from January, 2022, until she left the company last July, near the end of CCO’s 2023 summer festival. Pantos had overseen difficult and at times contentious negotiations for a new contract with the American Guild of Musical Artists (AGMA), a union representing singers and apprentice artists at the company. That conflict was resolved with the signing of a new contract in May, 2023.

Artists comment on change of leadership at Central City Opera

Two stage directors point to the company’s future

By Peter Alexander July 19 at 1:45 p.m.

Central City Opera House. Photo by Ashraf Sewailam.

Two of the three stage directors who helped produce this summer’s performances at Central City Opera (CCO) have given comments on the recent departure of CEO Pamela Pantos and the future of Central City Opera. (See: CEO Pamela Pantos’ employment at Central City Opera has ended.)

Ken Cazan

Ken Cazan, professor of opera and resident stage director at the University of Southern California Thornton School of Music, is the senior director of the three. He has been a feature of the CCO artistic community for many years. Last December when CCO was embroiled in a contract dispute with the American Guild of Musica Artists (AGMA), he wrote a letter to Pantos stating his unwillingness to work for the company until the dispute was resolved. Subsequently the two other directors signed the letter as well. The dispute was resolved at the last minute.

For the 2023 season, Cazan directed the production of Cole Porter’s classic musical Kiss Me, Kate. After yesterday’s surprise announcement that Pantos was leaving CCO, he wrote the following: “I’m glad it’s over. Now, hopefully, the company will wipe the slate clean and start from the ground up to recreate itself.

“At the moment it is totally up to the board and I pray that they have the fortitude to look at the company and its mission through a very fresh, clear lens. It is the perfect time to reimagine who and what they are and how they fit into the Colorado, American and international arts landscapes. I have so many thoughts on the huge potential for the company to move forward and grow artistically in this moment. It just takes guts and trusting a new artistic mentality—whoever that may be.

“Let the Managing Director and the new Artistic Director (a must position and one that was sorely missed this summer) create a new world within and around CCO, one that hopefully reaches out and invites in a new, fresh audience while being grateful for the guidance and support of current and past generations.”

Ashraf Sewailam

Ashraf Seawilam was the most junior of the three stage directors. Although he has sung at Central City and around the world, the CCO production of Rossini’s Otello was his first fully professional directing job. He wrote: “To me—and many of my colleagues share this sentiment—the priority now is to concentrate on performing the rest of the festival not only successfully, but brilliantly.

“I won’t speak about the circumstances under which we put this excellent season together. The company and its great history will move on from this episode. The tremendous efforts put together by the artists, creatives, and crew in order to produce this season in spite of the ‘obstacles’ should be what’s in the limelight now, not what we left behind. In the end it’s why we’re here: The art and artists who make it happen.

“Come and see the shows! You will not be disappointed.”

Details of the remaining performances and access to ticket sales may be found here.