Hail and Farewell

Some of the musicians we lost in 2018

By Peter Alexander Dec. 31 at 4:45 p.m.

May the memories of these great musicians, who have enriched so many lives as performers, teachers and leaders, be a blessing to us all.

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Robert Mann

Jan. 1: Robert Mann, founding first violinist of the Juilliard String Quartet, whose robust style helped them achieve international renown, 97

Jan. 7: Maurice Peress, conductor who worked with both Leonard Bernstein and Duke Ellington, and an ardent advocate for the influence of Dvořák on American music, 87

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Hugh Masakela

Jan. 23: Hugh Masekela, South African trumpeter, singer and anti-apartheid activist, 78

March 2: Harvey Schmidt, composer of the long-running (42 years) off-Broadway sensation The Fantasticks, and also 110 in the Shade, 88

March 2: Jesús López Cobos, Spanish conductor, former music director of the Deutsche Oper Berlin, the Cincinnati Symphony, and other orchestras, 78

March 12: Ivan Davis, internationally known American pianist, a protégé of Vladimir Horowitz, 86

March 16: Buell Neidlinger, versatile bassist who played free jazz as well as John Cage and Igor Stravinsky premieres, and recorded with Dolly Parton and the Eagles, 82

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José Abreu

March 24: José Abreu,founder of El Sistema, the Venezuelan free-music program aimed at impoverished children that produced the conductor Gustavo Dudamel and remarkable youth orchestras, 78

Mach 31: Michael Tree, founding member of the Guarneri Quartet and the Marlboro Trio, as well as a much loved teacher at the Juilliard School, Manhattan School of Music, and other institutions, 83

April 5: Cecil Taylor, classically-trained jazz pianist, band leader, and sometimes poet, 89

April 10: Yvonne Staples, the baritone voice of the soul group Staples Singers, 80

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Jean-Claude Malgoire

April 14: Jean-Claude Malgoire, energetic French conductor and champion of his nation’s early music repertoire, 77

May 1: Wanda Wilkomirska, a Polish violinist who performed world wide and was also known for her stand in support of the Solidarity movement, 89

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Clarence Fountain

June 3: Clarence Fountain, the last living co-founder of the iconic gospel singing group Blind Boys of Alabama, 88

June 12: Bonaldo Giaiotti, operatic bass who was discovered singing in celebration of his soccer’s team victory in a bar in northern Italy and went on to become a fixture of the Metropolitan Opera, 85

June 16: Gennady Rozhdestvensky, Russian conductor known for performing the works of Alfred Schnittke, Sofia Gubaidulina and other contemporary composers, and for the emotional intensity of his performances, 87 

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Liliane Montevecchi

June 29: Liliane Montevecchi, Tony-Award winning actress, dancer and singer who performed with the Folies Bergère in Las Vegas and Paris, in addition to Broadway and film roles, 85

June 29: Franz Beyer, a German  violist and musicologist who prepared a revised edition of Mozart’s unfinished Requiem in the early 1970s, 96

July 3: Bill Watrous, a widely respected and acclaimed trombonist, bandleader and teacher, known for studio work with artists including Quincy Jones and Frank Sinatra, 79

July 9: Oliver Knussen, British composer and conductor best known for his opera Where the Wild Things Are based on the beloved children’s book by Maurice Sendak, 66

VH1 Divas Live: The One and Only Aretha Franklin

Aretha Franklin

Aug. 16: Aretha Franklin, “The Queen of Soul” and one of the most widely loved and revered singers in America with a 100 singles in the Billboard charts and 20 No. 1 R&B hits, 76

Aug. 23: George Walker, Pulitzer Prize-winning American composer and teacher at Rutgers and other institutions, whose Lyric for Strings was performed during the 2018 Colorado Music Festival, 96

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Inge Borkh

Aug. 26: Inge Borkh (born Ingeborg Simon), German/Swiss soprano known for her intense performances as Salome, Elektra, and other daunting roles, 97

Aug. 29: Ellie Mannette, a Trinidadian musician who, as a builder, tuner and teacher of steel drums, help create one of the most recognizable and joyful musical sounds, 90

Sept. 6: Claudio Scimone, Italian conductor and founder of I Solisti Veneti, with which he toured internationally and made many recordings, 83

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Tito Capobianco

Sept. 8: Tito Capobianco, operatic stage director at the New York City Opera, the Metropolitan Opera and San Diego Opera, and general director of Pittsburgh Opera for 17 years, later a faculty member at Indiana University, 87

Sept. 18: David DiChiera, founder and director of Michigan Opera Theatre in 1971, who helped bring culture into downtown Detroit and stimulate the downtown revival, 83

Sept. 21: Katherine Hoover, flutist and composer who wrote for her own instrument and for strings, woodwinds, full orchestra, and other media, 80

Oct. 1: Charles Aznavour, celebrated French popular singer, song writer and film star who sold more than 100 millions records, and who was also known for his political support of the Armenian people, 94

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Montserrat Caballé

Oct. 6: Montserrat Caballé, Spanish prima-donna soprano known for the purity of her voice as well as the adulation of her fans, 85

Oct. 31: Wolfgang Zuckerman, developer of the “Z-Box,” the first build-it-yourself harpsichord kit, 96

Nov. 15: Roy Clark, guitar, banjo, mandolin and fiddle virtuoso and country singer who was much more than this TV personality on “Hee-Haw,” a Country Music Hall of Fame inductee in 2009, 85

Dec. 6: Andrew Frierson, groundbreaking African-American bass-baritone who sang at the New York City Opera and other opera stages around the world and at the 1963 March on Washington, was a voice professor at Oberlin and other schools, and co-founded the Independent Black Opera Singers, 94

Dec. 17: Galt MacDermot, Grammy-award winning composer of Hair and Two Gentlemen of Verona, 89 and 364 days

Dec. 29: Aldo Parisot, legendary Brazilian-born cellist and teacher who was the longest-serving faculty member ever at Yale University, 100

 

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Grace Note: Boulder International Chamber Music Competition Announces Winners

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By Peter Alexander Oct. 14, 2018, at 3:20 p.m.

The Boulder International Chamber Music Competition: The Art of the Duo concluded its competitive rounds Saturday (Oct. 13).  The winners were announced that evening, and the winners concert was held Sunday afternoon, Oct. 14, in the Gordon Gamm Theater of the Dairy Arts Center.

The winners are:

First Prize: Iwo Jedynecki (Poland) & Aleksander Krzyżanowski (Poland), accordion and piano
Best Performance of Commissioned Piece, “True Green” by Tomasz Golka
Audience Favorite Award
Second prize winners (tie): YuEun Kim (South Korea) & Sung Chang (South Korea), violin and piano; and
Matthew Cohen (U.S.) & Zhenni Li (China), viola and piano
No third prize was awarded.

Boulder International Chamber Music Competition presents duos from around the world

Live rounds and winners concert will be open to the public, Thursday–Sunday

By Peter Alexander Oct. 9 at 4:10 p.m.

Twenty classical music duos are arriving in Boulder this week from all over the world.

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Dairy Arts Center, location of the Boulder International Chamber Music Competition, “The Art of the Duo”

They are coming for the second Boulder International Chamber Music Competition, “The Art of the Duo,” which will unfold in the Gordon Gamm Theater of the Dairy Arts Center Thursday through Sunday, Oct. 11–14. The duos (listed here) include standard duo pairings, including violin and piano, cello and piano; other common pairings, including flute and piano, clarinet and piano, trumpet and piano; and one surprising pair, accordion and piano.

They are arriving from many parts of the globe. There are contestants from South Korea, China, Taiwan, Malaysia, France, Spain, Italy, Bulgaria and Poland, as well as the U.S. and Canada.

All live portions of the competition are open to the public, with semi-final rounds Thursday and Friday, Oct. 11-12, the final round on Saturday, Oct. 13, and the winners’ concert Saturday, Oct. 14 (see schedule below). All performances will be in the Gordon Gamm Theater. Tickets for the four-day event, or for each individual day of the competition, are available through the Dairy Web page.

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Mina Gajić

The competition is the brainchild of its artistic director, pianist Mina Gajić, who put together the first competition in 2016. Like many music contests, it will be held every two years.

“With each new iteration of the competition we’ll be able to continue promoting this kind of competition [for duos], which is pretty rare in the classical music world,” Gajić says. “At the same time we’re promoting Boulder as an arts destination and bringing even more visibility to our cultural life that is already rich.”

Gajić has assembled a jury of three accomplished musicians to judge the live rounds, representing three different instrument families represented in the competition:

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    Jon Kimura Parker. Photo by Tara McMullen

    Pianist Jon Kimura Parker, an internationally recognized performer and director of the Honens International Piano Competition and Festival in Calgary;

  • Violinist Ani Kavafian, professor in the practice of violin at Yale University who has performed as soloist and chamber musician with leading ensembles around the world; and
  • Clarinetist Richie Hawley, who teaches at the Shepherd School of Music at Rice University and the Music Academy of the West in Santa Barbara, and appeared with the Boulder Bach Festival in Longmont in 2017.
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Ani Kavafian

“Our judges are some of my favorite musicians,” Gajić says. “They are world-class performers and teachers, equally as soloists and chamber musicians.”

The application process for the competition began last summer. The deadline was in July, after which a four-person panel—Gajić, Zachary Carrettin of the Boulder Bach Festival, plus the 2016 winning duo of cellist Julian Schwarz and pianist Marika Bournaki—heard to and watched more than 100 online application videos. After an intensive two-week period, the semi-finalists who would come to Boulder were announced Aug. 1.

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Richie Hawley

“I listened several times to all the videos,” Gajić says.“It’s a really big responsibility to be the one who says this duo can enter can enter, and this duo cannot, but that’s just the nature of a competition.”

Even narrowed down to the 20 semifinalists, two full days is a lot of music by duos. “Those are long days, but our audience is really devoted to this event,” Gajić says. “I was amazed how many people stayed the whole time in 2016. Audience members develop a relationship with the performers and want them to advance to the finals, to win a prize!”

As in 2016, the competition has commissioned a work to be performed by all contestants in the semifinal round. This year’s piece, “True Green,” is by Tomasz Golka, director of the Riverside (Calif.) Philharmonic and an accomplished violinist. It is an interesting challenge for the composer to write a piece that can be played by duos with differing instruments and sonic capabilities.

The challenge for the performers is to come up with their own interpretation of a piece they have never heard or seen before, and make it fit the individual character of their instrument. “It’s really great to hear the same piece performed 20 different ways, in 20 different instrumentations, 20 different interpretations,” Gajić says.

Like most musical organizations in U.S., the Boulder International Chamber Music Competition is supported by a combination of grants and individual gifts. “I have great support from the Boulder Bach Festival, who serves as the fiscal agent, so that is extremely helpful,” Gajić says. “And we get really great support from the Boulder Convention and Visitors Bureau, who have supported us in many different ways, because we bring valuable arts tourism to Boulder.

“We’re promoting the classical music scene here, and we’re also attracting contestants ages 18–35 who are discovering Boulder. This is an event where (young artists) can gain experience, see a beautiful town in the United States, win some substantial cash prizes, and get other performance opportunities.

“I would encourage anybody to come and experience this live, because it’s something really special, and it’s happening right her in Boulder.”

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The Art of Duo
Boulder International Chamber Music Competition

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Semifinal rounds:
2–5 and 6:30–9 p.m. Thursday, Oct. 11
3–5:30 and 6:30–9 p.m. Friday, Oc.t 12
See the full list of participating duos here.

Finalist rounds and announcement of winners
1–9 p.m. Saturday, Oct. 13

Final concert: Three prize-winning duos
2 p.m. Sunday, Oct. 14

All performances in the Gordon Gamm Theater, Dairy ArtsCenter
Tickets available through the Dairy Arts Center Web page

 

Bernstein at 100 at CU

CU Boulder and College of Music join in world-wide celebration

By Peter Alexander

It started Aug. 31 with the CU Marching Band’s half-time show.

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Leonard Bernstein

“It” is the CU Boulder contribution to the world-wide juggernaut that is the 2018 centennial of Leonard Bernstein’s birth. If the CU-CSU “Rocky Mountain Showdown” seems an unusual place to celebrate the former director of the New York Philharmonic, Leonard Bernstein is a unique figure in American music. He famously wrote everything from serious symphonies to smash-hit Broadway shows. Indeed, he was such a protean figure that he is identified on the university’s Webpage as a “composer, conductor, educator, musician, cultural ambassador, and humanitarian.

For the record, the marching band played arrangements from West Side Story at the CU-CSU game in Denver. They will repeat the performance, with assistance from the Dance and Theatre Department at the Folsom Field halftime shows Saturday, Sept. 15, and Friday, Sept. 28.

Locally, the observance of the Bernstein centennial actually started long before August. Last April, the Boulder Philharmonic presented a sold-out performance of West Side Story in concert, and several of the concerts at the Colorado Music Festival this last summer were arranged around music Bernstein wrote, conducted, or was influenced by.

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Andrew Cooperstock

With nearly 20 events on the calendar, the CU celebration will be the most wide-ranging Bernstein festival in the region. “We wanted to feature the University of Colorado, and involve as much of the College of Music as possible,” says Andrew Cooperstock, professor of piano in the College of Music and artistic director of CU Bernstein at 100.

“I think we’ve done that pretty well. We have faculty chamber music, we have student performances, we have all of the major ensembles, opera and wind symphony, and orchestra—and marching band! We have music theory and musicology as well, and extramural partnerships with the Program in Jewish Studies and the Department of Cinema Studies and Moving Image Arts.”

Cooperstock also noted the wide variety of Bernstein’s interests as a motivating aspect for the broad range of events. “Bernstein said he didn’t differentiate among different kinds of music,” Cooperstock says. “He had an interest in the Beatles, and Mahler, and jazz, and everything in between.”

Information about the CU Bernstein at 100 project can be found on their Web page, which also includes a calendar of all the CU Bernstein events. The calendar includes concerts and other performances, lectures, a masterclass, film screenings, and a full production of West Side Story by the Eklund Opera Theater. You can also find a page about Bernstein that has a brief bio and links to videos and essays about various aspects of his career written by people who knew him.

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Jamie Bernstein, the composer/conductor’s daughter

Among the authors is Jamie Bernstein, Leonard Bernstein’s daughter, whose remarkable book Famous Father Girl: A memoir of growing up Bernstein was published in June. Jamie Bernstein will be one of three special guests at CU during the week of Sept. 24–28, along with Glenn Dicterow, former concertmaster of the New York Philharmonic Orchestra, and Carol Oja, the William Powell Mason Professor of Music at Harvard University and one of the leading scholars on Bernstein and his music.

Events involving these guests will be covered in more detail later this month.

 

 

 

 

 

 

Grace Notes: Brief news items from the classical music scene in Boulder

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By Peter Alexander Aug. 20 at 9:45 p.m.

Boulder Chamber Orchestra hires executive director—The Board of Directors of the Boulder Chamber Orchestra announced earlier this summer that Courtney Huffman has been appointed as the organization’s executive director.

The executive director’s responsibilities had been handled by Bahman Saless, founder and artistic director of the BCO. After 14 years, he is now ready to leave administrative duties to Huffman in order to focus on the music.

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Courtney Huffman

“I have loved and cherished very moment and I am ready to take a step back and lighten the administrative load knowing that the orchestra is in good hands,” he said in a news release.

Huffman first joined the BCO organization three years ago as managing director. She had left in 2017 to work for an educational non-profit organization in Denver, but returned to Boulder when offered the position with the BCO.

“I am beyond excited to be returning to Boulder to lead the orchestra,” she said in the BCO’s news release. “I have loved classical music since I was a little girl, and this organization feels like home to me. I am honored to be able to ring in the orchestra’s 15thseason.”

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MahlerFest also hires an executive director—Colorado MahlerFest recently hired its first executive director.

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Ethan Hecht

In a decision announced in July, MahlerFest hired Ethan Hecht as executive director after 31 seasons of performances. MahlerFest’s announcement notes that the festival has grown since the 2015 hiring of Kenneth Woods as the its second artistic director. The festival has added both workshops and a masterclass for young conductors, and introduced “festival artists” who are featured both in the MahlerFest orchestra and in chamber music performances during the festival.

According to the announcement from the festival, “the board looked to expand the administrative operations of the festival.” Hecht has performed at MahlerFest as the orchestra’s principal violist, and he has extensive administrative experience with Colorado Music Festival and Pro Musica Colorado Chamber Orchestra. He is currently executive director of the Boulder Chorale.

MahlerFest board president David Auerbach was quoted in the announcement of Hecht’s appointment: “This is a major investment in the future of the festival . . .We are very excited [Hecht] has joined the team.”

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Pro Music Colorado announces 2018–19 season—The Pro Musical Colorado Chamber Orchestra has announced their 2018–19 season, titled “Classical Evolution!”

Photography by Glenn Ross. http://on.fb.me/16KNsgK

Cynthia Katsarelis

The central performance and likely audience favorite of the season will be Handel’s Messiah, to be presented Saturday and Sunday, Dec. 1 and 2, at Mountain View United Methodist Church, 355 Ponca Place in Boulder. The performance under conductor Cynthia Katsarelis will feature guests soloists to be announced later and the Boulder Chamber Chorale with artistic director Vicki Burrichter.

Mountain View Methodist, which has ample on-site parking, has become the orchestra’s home base in Boulder. All three of the season’s programs will be presented there. In addition, their September concert will be performed in Denver at Central Presbyterian Church, and the season-closing concert in February will be performed at the First Baptist Church of Denver and at the Stewart Auditorium in Longmont.

Here is the full 2018-19 season of Pro Musica Colorado Chamber Orchestra:

“Women Among Men”
7:30 p.m. Saturday, Sept. 22, Central Presbyterian Church, Denver
2 pm. Sunday, Sept. 23, Mountain View Methodist Church, Boulder
Cynthia Katsarelis, conductor, with Yumi Hwang-Williams, violin, and Amanda Balestrieri, soprano

Wolfgang A. Mozart: Serenade No. 6 for Orchestra in D major K. 239, Serenata notturna
Grazyna Bacewicz: Concerto for String Orchestra
Franz Joseph Haydn: Violin Concerto in C Major
Johann Sebastian Bach: Die Schätzbarkeit der weiten Erde (The treasure of the world), aria from Cantata 204

Handel’s Messiah
Cynthia Katsarelis, conductor, with the Boulder Chamber Chorale, Vicki Burrichter, conductor, and soloists tba.
7:30 p.m. Saturday, Dec. 1, Mountain View Presbyterian Church, Boulder
3 p.m. Saturday, Dec. 2, Mountain View Presbyterian Church, Boulder

“21st-Century Style”
Cynthia Katsarelis, conductor, with Jory Vinikour, harpsichord
7:30 p.m. Friday, Feb. 22, First Baptist Church of Denver
7:30 p.m. Saturday, Feb. 23, Mountain View Methodist Church, Boulder
2 p.m. Sunday, Feb. 24, Stewart Auditorium, Longmont

Max Wolpert: Harpsichord Concerto No. 1, “Baroque in Mirror” (World Premiere)
Philip Glass: Concerto for Harpsichord and Chamber Orchestra
Joseph Haydn: Symphony No. 22 (“The Philosopher”)

More information and tickets here.

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CU Faculty Tuesdays start Aug. 28—The CU College of Music’s “Faculty Tuesdays” series starts next week, at 7:30 p.m. Aug. 28, in Grusin Hall of the Imig Music Building.

The first of the fall series of faculty recitals at CU will feature violinist Charles Wetherbee and pianist David Korevaar, performing three works: the Sonata for Violin and Piano in B minor of Ottorino Respighi; the Poeme op. 25 by Ernest Chausson; and one of the great masterpieces of violin repertoire, Beethoven’s Violin Sonata in A major op. 47, known as the “Kreutzer” Sonata.

You may check the full fall schedule for “Faculty Tuesdays” on the College of Music Web page. Note also that if you cannot make the trip to the CU campus for any of the performances, they are live-streamed every week through this Web page.

 

 

Boulder Philharmonic announces program change for 2018–19 season

Season Finale April 27 will be “The Dream of America”

By Peter Alexander Aug. 10 at 6:30 p.m.

The Boulder Philharmonic has announced a change in the final concert of their upcoming 2018–19 season, scheduled for 7:30 p.m. Saturday, April 27, in Macky Auditorium.

“The Dream of America,” a concert program that pairs Dvořák’s popular “New World” Symphony with Ellis Island: The Dream of America by Peter Boyer, will replace the previously announced performance of Peter Schaffer’s play Amadeus. The change was announced today (August 10) in a message sent to ticket buyers from Boulder Phil executive director Katie Lehman.

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A scene from the PBS broadcast of Peter Boyer’s “Ellis Island: The Dream of America,” performed by the Pacific Symphony with conductor Carl St. Clair

The program was selected by Boulder Phil music director Michael Butterman, who will conduct the performance.

Nominated for a Grammy, Ellis Island is a piece for actors and orchestra that was presented recently on the PBS series “Great Performances.” Based on stories from the Ellis Island Oral History Project, the score weaves together monologues, a full orchestral score and projected images from the Ellis Island archives. At the center of the piece are the stories of seven immigrants among the many thousands who entered the U.S. through Ellis Island between 1910 and 1940.

According to information released by the Boulder Philharmonic, the rights to present Amadeus had become unavailable due to plans to mount a major theatrical revival.

Patrons who already purchased tickets for April 27 who wish to keep their tickets need not do anything; their tickets will be mailed in September. Those who wish to exchange tickets for another performance, receive a refund, or donate their tickets back to the Boulder Phil should contact the orchestra’s office, at 303-449-1343 (11 a.m. to 4 p.m., Monday–Friday).

Boulder Philharmonic season information and tickets are available on their Web page.

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Madama Butterfly, Billy Budd to be presented by Central City Opera in 2019

The schedule also includes smaller works by Debussy and Poulenc

By Peter Alexander July 27 at 5:20 p.m.

While you were busy watching the operas, Central City Opera Company slipped some news into the program book.

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Central City Opera House (photo by Ashraf Sewailam)

Page 10 of the deluxe 2018 season book lists the 2019 season, which will offer the opportunity to hear one of the most popular operas ever, as well as three works that are genuine rarities in the opera house. The latter include two smaller works more often classified as oratorios, and one major opera by a truly great opera composer.

The season will follow the pattern of recent years, with two large-scale productions in the Central City Opera House, and two smaller one-act works in more intimate venues in Central City:

* Madama Butterfly by Giacomo Puccini
* Billy Budd by Benjamin Britten
* La Damoiselle élue (The blessed damozel) by Claude Debussy
* Litanies à la Vierge noire (Litanies to the Black Virgin) by Francis Poulenc

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Yunah Lee and Chad Shelton in Madama Butterfly, Central City 2010

According to the Web site Operabase, Butterfly was the seventh most frequently performed opera in 2017–18, with 2,428 performances world wide. It was last performed by CCO in 2010. That production will be returning, but with a different director.

It was long been the ambition of CCO’s general/artistic director Pelham G. Pearce, Jr., to present all of the operas by Benjamin Britten in Central City. “Oh, I love Britten!” he says.

Of the Britten operas yet to be done at Central City, Billy Budd, which calls for a very large cast of all men and takes place on a British man-o’-war, would seem to pose the greatest challenge in the intimate Central City Opera House.

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Billy Budd at the Glyndebourne Festival

Billy Budd is at this point the biggest show we will ever have done inside the theater,” Pearce says. “I’m really excited about it. There are so many people in Billy Budd it’s just crazy, but it’s such a glorious work. I swear the roof is going to come off in that space!”

In contrast, the smaller works next year will feature female voices. “Because Billy Budd is all male, outside of the main stage we will be staging Debussy’s Blessed Damozel, which is all female” Pearce says. “And going along with that will be The Litany of the Black Virgin by Poulenc, also for all female voices.”

Offering two shorter works each year is a plan that Pearce has become attached to. “We do really well with these (shorter) shows,” he says. “And they provide a really great opportunity to show off young artists. So I’m pleased with them.

“It provides me the opportunity to play a little bit in areas of repertory that we normally don’t get into. There’s a whole lot of stuff that’s written that’s not a full evening in the theater, and that often gets neglected. So having the opportunity to play in that pond of work has been really a lot of fun for me.”

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Pelham (Pat) Pearce

Pearce is especially happy to offer the two works for all female voices. “I have a thing about just women voices,” he says. “Blessed Damozel is a gorgeous piece that (Debussy) wrote when he was very young. He originally wrote it for just piano, which is how we’re going to do it. It’s glorious music, (and all) you’re going to have to do is walk into the church, sit down, and be immersed in the sound.”

He first heard Blessed Damozel years ago when he bought a recording. He had never heard it before, but, he says, “I put this on and said ‘My god, that’s the most beautiful thing I’ve heard in my life!’ So that’s been stuck in the back of my head for years. And now I have an opportunity to do it!”

Although the season has been announced, tickets are not yet available for 2019. Cast members and production details are generally announced in the fall, with subscriptions going on sale in December and single tickets in the spring preceding the summer season. Watch for further announcements on the CCO Web page.