Concert will introduce new concertmaster and associate concertmaster
By Peter Alexander Oct. 8 at 1:05 p.m.
The Longmont Symphony opens its fall 2020 half season of online concerts, “(Re)Sounding,” Sunday, Oct. 11. Music director Elliot Moore will conduct a program of music for strings, featuring Bach’s popular Concerto in D minor for two violins and orchestra —widely known as the “Bach Double Concerto.”
The soloists will be orchestra’s new concertmaster and associate concertmaster, Benjamin Ehrmentraut and Kina Ono. Other works on the program are three string serenades by Mozart, written when the composer was 16.
Because of limitations imposed by the Coronavirus pandemic, Moore says, “I decided to pick music that I felt could be rehearsed and performed in one day. To this end, I’ve picked some of my favorite Mozart divertimenti that I listened to during quarantine. They’re also called his Salzburg symphonies.
“I wanted to also feature our new concertmaster and associate concertmaster as soloists. So they will be performing the Bach Double Violin Concerto.”
The concert will be recorded in the Longmont Museum’s Stewart Auditorium for later broadcast on the LSO’s YouTube channel and on Longmont’s Public Media (LPM) channel. The recording will be engineered by LPM. The premiere broadcast of the first concert will be shown at 4 p.m. Sunday, Oct. 11, and will be available for a period of time afterwards.
Ehrmantraut, a native of Bismarck, N.D., began musical studies at age 9. He received a bachelor’s degree in violin performance from Concordia College in Moorhead, Minn., and a master’s degree from CU, Boulder, studying with violinist Károly Schranz, who played second violin tin the Takács Quartet for 43 years. Before moving to Colorado, Ehrmantraut played with the Fargo/Moorhead and Bismarck/Mandan symphony orchestras.
He currently plays with the Boulder Symphony. Chamber music is another part of his career, including performing in at Dakota Chamber Music in North Dakota, in Vermont at the Green Mountain Chamber Music Festival, and in Texas at the Round Top Festival Institute.
Ono has played in professional orchestras in and near her home state of Minnesota. Since moving to Colorado, she has joined the Boulder Philharmonic, Boulder Symphony and the Cheyenne Symphony. In Minnesota she has performed at the Ordway Music Theater and Concert Hall, Orpheum Theater, Target Center, and Xcel Energy Center, and placed first in the 2016 Schubert Club Competition. She is currently a master’s of student at CU, Boulder. She holds a bachelor’s degree from the University of Minnesota, where she studied with Sally O’Reilly.
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Longmont Symphony Orchestra, Elliot Moore, conductor With Benjamin Ehrmantraut and Kina Ono, violins 4 p.m. Sunday, Oc. 11—online only
J.S. Bach: Concerto in D minor for two violins and orchestra, S1043 (“Double Violin Concerto”) Mozart: Divertimento in D major, K136 (“Salzburg Symphony No. 1”) Divertimento in B-flat major, K137 (“Salzburg Symphony No. 2”) Divertimento in F major, K138 (“Salzburg Symphony No. 3”)
Other concerts of the fall 2020 half season
“Los Angeles to Longmont” Caroline Campbell, violin Program tba 4 p.m. Sunday, Oct. 25
“Seattle to Longmont” Nathan Lee, piano Program tba 4 p.m. Sunday, Nov. 25
Handel’s Messiah, Solo Sections Longmont Symphony, Elliot Moore, conductor With four vocal soloists to be named later Handel: Messiah solo pieces “Hallelujah” Chorus 4 p.m. Sunday, Dec. 13
Half-season subscriptions and access to individual concert streams may be purchased here.
The hybrid season will offer livestream and limited in-person tickets.
By Izzy Fincher Oct. 7 at 4:50 p.m.
Amidst the turmoil of 2020, we can turn to music for comfort.
“Music has such a capacity to heal,” Cynthia Katsarelis, conductor of Pro Musica Colorado, says. “It has the capacity to comfort. It has the capacity to connect us, to remind us of our humanity, and to remind us of who we are.”
Katsarelis planned Pro Musica’s 2020-2021 season in response to the grief and suffering of 2020, hoping to offer comfort and healing to the audience through music.
“Usually we program a year or more in advance,” Katsarelis says. “But now with this season we can respond to what is going on in the world. We decided this season needed works that were healing, comforting and joyful discoveries.”
Katsarelis’ original plans for the season dissolved mid-summer. To comply with COVID-19 social distancing requirements, she had to find repertoire for strings without winds or vocalists. This reduced her options and forced her to look for local soloists on short notice. At that time, she also decided to offer the season as both a virtual and limited in-person experience.
The December program, originally planned to be Handel’s Messiah with the Boulder Chorale, was scrapped in favor of an all-strings program and a new soloist—Yumi Hwang-Williams, concertmaster of the Colorado Symphony. Katsarelis decided to open the concert with Samuel Coleridge-Taylor’s Novellette No. 1 for string orchestra,a lesser-known work for musical discovery, before moving to familiar works by Vivaldi, Corelli and Dvořák to heal.
For February’s concert, “Rainbow Valentine,” Katsarelis also wanted to begin the program with new discoveries. First, Pro Musica will premiere a new work by Jordan Holloway, the winner of CU-Boulder’s Composition Competition. Then they will play Joseph Bologne’s Violin Concerto No. 9 with soloist Harumi Rhodes, the second violinist of the Takács Quartet, and finish with the comforting Serenade for String Orchestra by Tchaikovsky.
Katsarelis is most excited for the Bologne violin concerto and feels grateful that Rhodes agreed to perform it on short notice. “This violin concerto is swashbuckling,” she says.
“Harumi sets the room on fire when she opens her violin case, let alone when the bow comes to the string. The combination of this swashbuckling concerto and Harumi will be electric. It will pass through the internet to all those tuned in.”
For the final concert in May, aptly named “Springtime,” Pro Musica will collaborate with Nicolò Spera, director of CU’s classical guitar program, on a concerto (currently TBA). The program will also include Carter Pann’s Three Secrets in Maine and the chamber version of Copland’s Appalachian Spring. Katsarelis feels the works by Pann and Copland are distinctly American and will offer familiar sounds as the season’s final comforting gesture.
“Appalachian Spring is such a quintessential American piece,” she says. “It’s a good piece to play at this time. It’s a piece that reminds us who we are. It is an American work that speaks to the best of American culture.”
For those listening to concerts virtually, Katsarelis recommends working on a high-quality audio setup.
“People might want to get in touch with their inner audiophile,” Katsarelis says. “If they haven’t experimented with connecting their computer to decent speakers, now is the time. It would really enhance the listening experience.”
Beyond the three concerts, Pro Musica will also stay engaged with the Boulder community, particularly in local elementary schools, during the season. They will collaborate with Boulder MUSE, a non-profit organization that provides free music lessons for underprivileged children. Pro Musica’s string quartet will perform music by diverse composers, especially composers of color, from their previous season for young musicians at Columbine Elementary School and University Hill Elementary School.
For Pro Musica, issues of diversity and representation have always been important. Since their conception in 2007, Pro Musica has aimed to share “new voices from ethnically and racially diverse cultures,” according to their mission statement. This perspective is important with 2020’s focus on diversity. This season includes works by two black composers, Coleridge-Taylor and Bologne.
For Katsarelis, diversity in classical music is personally important. She is currently the only female conductor of a professional orchestra in Colorado.
“This is something I have done my entire career, going back to the mid-1990s,” she says. “It’s not new for me or for Pro Musica. We have been presenting music by female composers, composers of color and underrepresented voices. We have a mission of bringing forward voices that have been silenced unjustly.
“Artistic grounds alone are enough to bring this music forward. This is great music that has a lot to say to us and can really speak to our hearts.”
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Pro Musica Colorado 2020-2021 Season Limited tickets available for live performances Live-stream tickets available for Saturday night of each program
“Holiday Moods” Cynthia Katsarelis, conductor, with Yumi Hwang-Williams, violin
Samuel Coleridge-Taylor: Novellette No. 1 Corelli: Christmas Concerto Vivaldi: “Fall” and “Winter” from The Four Seasons Dvořák: Serenade for Strings
*7:30 p.m. Saturday, Dec. 5, Broomfield Auditorium, Broomfield 3 p.m. Sunday, Dec. 6, First United Methodist Church, Boulder
“Rainbow Valentine” Cynthia Katsarelis, conductor, with Harumi Rhodes, violin
Jordan Holloway (CU Composition Competition winner): World Premiere Joseph Bologne: Violin Concerto No. 9 Tchaikovsky: Serenade for String Orchestra
Performance with Ivalas Quartet will be available online to prior Takács subscribers
By Peter Alexander Oct. 2 at 3:20 p.m.
The Takács Quartet will be entering familiar territory Sunday (Oct. 4) when they step onstage in Grusin Music Hall for one of their campus concerts.
But there won’t be an audience in the hall. The concert, and one scheduled for Nov. 1, will be streamed live for prior Takács season ticket holders. The concert will feature the Takács Quartet playing alone; the Ivalas Quartet, the current graduate quartet-in-residence at CU, playing alone; and the Takács and Ivalas players joining together as a string octet.
This will be only the Takács’s second campus concert since Richard O’Neill joined the quartet as violist, replacing the retired Geraldine Walther.
The program opens with the Takács playing Five Fantasiestücke, op. 5, by Samuel Coleridge-Taylor, a piece they have not played before. The Ivalas Quartet will play several short numbers: Strum by Jessie Montgomery; An Elegy: A Cry from the Grave by Carlos Simon; and two movements from Daniel Bernard Roumain’s String Quartet No. 5, “Rosa Parks.” Concluding the program will be a string octet arrangement of Villa-Lobos’s Bachianas brasileiras No.9.
The most notable feature of the program is the ethnic and racial diversity of the composers: African-English—Coleridge-Taylor; African-American—Montgomery and Simon; Haitian-American—Roumain; and Spanish-Brazilian— Villa-Lobos.
In this regard, the program also reflects the diversity of the Ivalas Quartet. One violinist is of mixed Danish/German and Ethiopian heritage and grew up in Des Moines, Iowa; the other violinist has American and French-Caribbean/African ancestors and grew up in Pennsylvania and Oklahoma; the cellist is Venezuelan; and the violist is from Southern California but has an Argentinian mother.
Members of the Takács Quartet are busy working to pull the program together, but first violinist Ed Dusinberre shared his thoughts by email. “This has been a time of reflection for us,” he wrote. “Over the summer we’ve been exploring works such as Coleridge Taylor’s extraordinary Fantasiestücke that to our shame we didn’t know previously.
“We always like to showcase our graduate quartet in different ways throughout their residency here. We can’t wait to play the Villa Lobos together and to hear Ivalas perform a variety of wonderful works that they feel passionately about.”
Not widely known today, Coleridge-Taylor was prominent in English musical life early in the last century. Known in the U.S. as “The African Mahler,” he had several successful tours of the U.S. before he died at 37.
In his program notes, Simon wrote that A Cry from the Grave, written in 2015, “is an artistic reflection dedicated to those who have been murdered wrongfully by an oppressive power; namely Trayvon Martin, Eric Garner and Michael Brown.”
Roumain’s String Quartet No. 5 is dedicated to Rosa Parks, whose refusal to move to the back of a bus set off the Montgomery, Ala., bus boycott in 1956. Roumain, whose Haitian parents lived through the Civil Right movement in the U.S, wrote that he created the quartet “as a musical portrait of Rosa Parks’ struggle, survival and legacy. The music is a direct reflection of a dignified resistance.”
The Bachianas brasileiras are a series of nine suites by Villa-Lobos written for varying performance media. Each work aims to join Baroque compositional techniques to Brazilian musical material. Most of then are not well known in this country, although No. 5, for soprano and eight cellos, has achieved widespread popularity with classical audiences. The ninth of the series was originally written for chorus and string orchestra, and will be performed in an arrangement for string octet.
Performing into an empty hall might seem discomfiting, but Dusinberre says it is not that difficult for the players. “Of course it is an adjustment but compared with the challenges most people face during the pandemic, we feel very fortunate to have projects to work on at all,” he wrote. “We have become experienced at recording CDs over the years and to creating performance energy without a present audience.
“We hope our audience are staying safe. We are extremely grateful to CU Presents in being both sensible and innovative to find means by which we can still communicate with our loyal audience here.”
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Takacs and Ivalas string quartets Full program
Samuel Coleridge-Taylor: Five Fantasiestücke, op. 5 I. Prelude II. Serenade III. Humoresque IV. Minuet V. Dance
Jessie Montgomery: Strum Carlos Simon: An Elegy: A Cry from the Grave Daniel Bernard Roumain: String Quartet No. 5, “Rosa Parks” I. “I made up my mind not to move.” II. Klap Ur Handz
Heitor Villa-Lobos: Bachianas brasileiras No.9, W449, arranged for string octet I. Preludio, Vagaroso e Mistico II. Fuga (Pouco apressando)
Takács Quartet and Ivalas Quartet
The shared Takács/Ivalas concert will be live streamed at 4 p.m. Sunday, Oct. 4, and will remain available through 11 p.m. Monday, Oct. 12. A second all-Mendelssohn program by the Takács alone will be live streamed at 4 p.m. Sunday, Nov. 1, and will be available through 11 p.m. Monday, Nov. 9. These performance will be available online only to prior Takács subscribers. A decision is pending on Takács Quartet performance arrangements for the spring. ——————— NOTE: Subhead changed 10/3 to include Ivalas Quartet.
“(Re)Sounding! 2020 Reimagined” opens Oct. 11 with Bach and Mozart
By Peter Alexander Sept. 29 at 12:45 p.m.
Elliot Moore is more than ready to get back to work.
The conductor of the Longmont Symphony designed the orchestra’s fall season to celebrate playing together again after COVID forced the suspension of the last season in April. “It’s been a very long pause for us,” he says. “It’s been a very long pause for every single orchestra across the country, across the world really, and we wanted to have a celebration that our sounds continue.”
In that spirit, the LSO is calling the fall half-season “(Re)Sounding: 2020 Reimagined.” There will be two concerts featuring a small orchestra—cut down to observe safe distancing—and two programs featuring guest artists.
The orchestra was on the brink of canceling the rest of 2020, but “I kept thinking about how we could do (a fall season),” Moore says. “There’s so many constraints now, so the idea that I had was to have bookends that are the orchestra—but it has to be obviously a very small orchestra. That already is a large constraint.
“And in the middle of our fall season, I wanted to showcase soloists that would enhance the season, and who even though they’re in their homes and not in Longmont, would still be a draw for our audience. To that end I picked an incredible violinist named Caroline Campbell, who is the go-to violinist for many artists including Barbara Streisand and Andrea Bocelli. She has had videos on YouTube with 34 million views.”
For the other guest artist, Moore selected pianist Nathan Lee, who won the Young Concert Artists International Audition at 15. Still in his teens, he is a musical ambassador to younger audiences. “He is just a beautifully thoughtful, poetic musician and pianist,” Moore says. “I thought not only would he be a draw for our patrons, but also that may be a way to get him virtually in the schools to talk with students.”
Following each solo performance, there will be a live Q&A session with the guest artist, speaking from their home, with Moore serving as moderator from Longmont.
Both LSO performances will be recorded in the Longmont Museum in advance of the online broadcast. The orchestra will play music by Bach on Mozart on Sunday, Oct. 11, including Bach’s Concerto for two violins, featuring the LSO’s new concertmaster and associate concertmaster, Benjamin Ehrmantraut and Kina Ono. The opposite bookend, Sunday, Dec. 13, will be a holiday program with music from Handel’s Messiah with four solo singers performing solo pieces, and joining together for the “Hallelujah Chorus.”
“I think that it’s imperative that we give [the audience] not only a good sound quality, but also a good visual quality,” Moore says. Having worked on streamed performances by the Detroit Symphony, he is working with the cameramen in planning the streams. “We’re talking about different shots, different camera angles and even more than that,” he says.
“I’m also speaking with someone who’s going to be our host, so we can have a curated experience. These are all new things for us, but I have full confidence in the staff of the Longmont Symphony, and with our collaborators from Longmont Public Media, who are working so beautifully with us to bring all of this to life.”
Both individual concert and fall season virtual tickets are available from the LSO Web page. Each virtual ticket allows the holder to view the performance at their convenience, starting at the listed performance times. Each performance will be available for a period of time after the premiere.
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(Re)Sounding: 2020 Reimagined Longmont Symphony (Streamed performances; admission through the LSO Web page)
Bach “Double” and Mozart “Salzburg symphonies” Longmont Symphony, Elliot Moore, conductor With Benjamin Ehrmantraut and Kina Ono, violins
J.S. Bach: Concerto for two violins and orchestra, BWV1043 Mozart: Divertimento in D major, K136 Divertimento in B-flat major, K137 Divertimento in F major, K138
4 p.m. Sunday, Oct. 11
“Los Angeles to Longmont” Caroline Campbell, violin Program tba 4 p.m. Sunday, Oct. 25
“Seattle to Longmont” Nathan Lee, piano Program tba 4 p.m. Sunday, Nov. 25
Handel’s Messiah, Solo Sections Longmont Symphony, Elliot Moore, conductor With four vocal soloists to be named later
Players are currently rehearsing and recording six of the eight programs
By Peter Alexander Sept. 21 at 10:30 a.m.
There were airplanes coming and going at the Boulder Municipal Airport last week, there were mechanics working on airplanes, pilots picking up brake fluid for airplanes—all the activity you would expect.
And there was an orchestra.
In fact, the Boulder Philharmonic was busy rehearsing their fall 2020 season in the Brungard Aviation hangar. It’s not usual activity at the airport, but if the pilot picking up brake fluid was taken aback, he didn’t show it.
This is part of the Boulder Phil’s answer to keeping the music alive during the pandemic. As conductor Michael Butterman explains, he and the orchestra spent several months looking for a way to have a 2020–21 season.
“This is probably the 40th iteration of ‘20–‘21,” he says. “Throughout the summer we kept changing our thoughts about what we’re going to be able to do.”
They finally found a way to stream the season online. Seven of the eight concerts will be available individually or by subscription through the Boulder Phil Web page. The eighth concert, the holiday program, will be available free with voluntary contributions. Each concert will be available for a limited time after its online premier. (See the full schedule below.)
To rehearse and record, Butterman realized, the players would have to be safely distanced and most playing with a mask. For that to be possible, they would have to use a reduced orchestra, mostly strings, and they would have to have a large space. For the former, there is a lot of available repertoire, but where would they find an appropriate space?
“It occurred to me that we have had galas at an airplane hangar at Rocky Mountain Airport,” Butterman says. “We ended up locating an opportunity at Boulder Municipal Airport, at Brungard Aviation’s hangar, and we’re grateful to them for that.”
Over a two week period—Sept. 15–20 and Sept. 22–27—players from the orchestra will rehearse and record for later streaming six of the eight concerts scheduled for the season. There will be three rehearsals and one three-hour recording session for each program.
The last two concerts—one a collaboration with the CU-Boulder Department of Theatre and the other with Frequent Flyers Aerial Dance—will be recorded later. That gives flexibility in working with the collaborating organizations and keeps open the possibility that some kind of live performance might be possible by the end of the season.
Two artists who have appeared with the Boulder Phil in the past—pianist Simone Dinnerstein and cellist Zuill Bailey—were invited to collaborate in chamber or chamber orchestra performances. “Zuill and Simone are wonderful to work with,” Butterman says. “The fact that we’ve had them both to Boulder already, and that they’ve been very popular with our audience, they were obvious choices.”
To make the video recordings, the Boulder Phil recruited the service of sound and video engineer Michael Quam. There will be 10 cameras recording each piece, providing a wide variety of camera angles for the streamed performances.
Streamed concerts offer both a challenge and an opportunity. “This season may offer opportunities for greater access for some people,” Butterman says: “anybody who has problems with transportation, who has a schedule conflict Saturdays at 7:30, who lives far enough from Boulder that they don’t want to drive in.” And of course the hope is that the convenience of being able to see concerts on demand will attract new audiences
The necessity of limiting the number of performers led to some thoughtful programming. For example, during the years after World War I and during the Spanish flu, Stravinsky and other composers did not have access to large orchestras. Instead, they wrote music for smaller groups, including Stravinsky’s L’Histoire du Soldat for seven players, which is ideal for the pandemic year. It will be on the April 3 program.
Other works will be performed in arrangements for reduced ensembles, such as Beethoven’s Sixth Symphony on April 24, arranged for a string sextet, and Ellen Taaffe Zwillich’s Cello Concerto, which the composer re-arranged for chamber ensemble, on March 13.
In fact, Butterman says, “the idea of this being a re-imagined season is embodied in each of the programs. We’re presenting pieces that themselves have undergone some amount of transformation. In the case of Vivaldi (recomposed by Max Richter, on the Oct. 17 concert), that’s obvious. The least obvious example is the Bach concert (Nov. 14), but any time you’re playing Bach on piano, that is a bit of a re-imagining.
“We’re obviously retooling the concert experience. I think there’s some very, very strong upsides to that, including bringing you inside the experience, and making the access wider.”
And if they find new fans among the mechanics at Brungard Aviation, or pilots that need brake fluid, so much the better.
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Boulder Phil 2021: Reimagined All performances streamed online Tickets available through the Boulder Phil Web page
Vivaldi Recomposed Michael Butterman, conductor Charles Wetherbee, violin
Jesse Montgomery: Strum Benjamin Britten: Simple Symphony Recomposed by Max Richter: Vivaldi, The Four Seasons
Available from 7:30 p.m. Saturday, Oct. 17
The Beauty of Bach Simone Dinnerstein, pianist and conductor Christina Jennings, flute, and Charles Wetherbee, violin
J.S. Bach/Philip Lasser: Erbarm’ Dich J.S. Bach: Orchestral Suite No. 2 in B minor Keyboard Concerto in D minor Brandenburg Concerto No 5 in D major
Available from 7:30 p.m. Saturday, Nov. 14
Happy Holidays from the Phil No tickets required; contributions welcomed Available from 3 p.m. Sunday, Dec. 13
Zuill and Zwillich Zuill Bailey, cello, with Michael Butterman and Jennifer Hayghe, piano
Rachmaninoff: Vocalise for cello and piano Ellen Taaffe Zwillich: Cello Concerto (chamber version) Schubert: Piano Quintet in A major (“The Trout”)
Available 7:30 p.m. Saturday, Jan. 23
Mozart and Mendelssohn Simone Dinnerstein, piano
Scott Joplin: “Solace” and “Bethena” Mozart/Ignaz Lachner: Piano Concerto in C major, K467 Mendelssohn: Octet for Strings
Available from 7:30 Saturday, Feb. 13
A Celebration of Cello Michael Butterman conductor, with Zuill Bailey, cello
Debussy/Schoenberg: Prelude to the Afternoon of a Faun Schumann/Philip Lasser: Cello Concerto in A minor Paul Trapkus: Trio for Three Violins Giovanni Sollima: Violencelles, Vibrez! Wagner: Siegfried Idyll
Available 7:30 p.m. Saturday, March 13
The Soldier’s Tale Michael Butterman, conductor CU Department of Theatre and Boulder Ballet
Stravinsky: L’Histoire du soldat (The soldier’s tale)
Available 7:30 p.m. Saturday, April 3
Beethoven 6 and Frequent Flyers Michael Butterman, conductor Frequent Flyers Aerial Dance
George Walker: Lyric for Strings Korine Fujiwara: Suite from Claudel Beethoven: Symphony No. 6 in F major (“Pastoral”; arr. for string sextet by M.G. Fischer)
Outdoor performances Ag. 14–16 and Aug. 29 will observe Coronavirus safety protocols
By Peter Alexander (Aug. 11 at 11:20 p.m.)
Live music is back in Boulder—in a limited, outdoorsy sort of way.
Two outdoor performances later this month will provide live music, for the limited audiences who can get tickets. Both presenters have worked with Boulder Parks and Recreation Department to meet all health requirements. Both will be strictly social distanced, with limited numbers admitted and carefully spaced.
Boulder Arts Outdoors will present what it calls “A socially-distanced drive-in performance pop-up” this coming weekend, Friday–Sunday, Aug. 14–16. The mixed program of classical, blue-grass, soul, salsa, dance and juggling, will be presented before a drive-in audience at the parking lot of the Gerald Stazio Softball Fields off 63rd Street in East Boulder.
Later in the month, Boulder Opera (BOC) will present its annual Opera in the Park performance in the Boulder Band Shell on Canyon Drive, to an audience limited to 175 people. The performance Saturday, Aug. 29, will be in two parts, with separate admission for each so that more people might have the opportunity to attend. The first half will be music from fairy-tale and fantasy operas, and the second half will be music from Zarzuelas, a popular genre of Spanish musical theater.
Mara Driscoll, the organizer of the Drive-In Festival, recently returned to Boulder from New York, where she dances at the Metropolitan Opera. “I’m still connected to the Boulder arts community, having gown up here, and as a performer I was feeling the disappearance of live performance,” she says.
“I really value everyone’s efforts to make things digital and to live stream, but we all know it’s just not the same. I was watching drive-in movie theaters pop up all over the country, and seeing how that made it possible for people to assemble safely, I thought, why not apply that same model to performance? There’s very, very stringent health regulations right now; a lot of the permit process was making sure that I could keep everyone socially distanced.”
The cars the parking lot will be spaced apart, in every second space, and arranged in a horseshoe shape for maximum visibility of the elevated stage located at one end of the lot. The music will be amplified, and also streamed through an FM transmitter for anyone who does not wish to lower their windows.
“The capacity is 40 vehicles, so people will be close enough to the stage that they can hear well, and see the performers,” Driscoll says. “It should feel like an outdoor amphitheater experience, you’re just looking through your windshield.”
Driscoll used her connections to the Boulder dance and music communities to invite artists and groups to be part of the performances. Some contacts suggested other performers, so that the total program grew to be extremely diverse.
The schedules over the three nights includes members of the Boulder Symphony, the Renaissance-music vocal quintet Solis Singers, the soul/rock band Lady Romeo, the Bluegrass groups Chandler Holt & Eric Wiggs, Sugar Moon and Bowregard, djembe drumming by Abdoul Doumbia, a new piece created for the occasion by dancer Helanius J. Wilkins, Salsa dance by Marcela Lay and Musa Starseed, Third Law Dance/Theater, and juggling by Peter Davison. The program is slightly different each evening; the full program by date can be seen here.
“It’s all about the artists,” Driscoll says. “I really wanted to create a platform for artists to do what they do. It’s exciting what everyone’s going to bring to the table, and I think audiences are going to go for this great ride and leave with a sense of awe at all the creativity and talent that’s right here in Boulder.”
Boulder Opera has offered “Opera in the Park” for several summers running, but this year was different due to the pandemic. “We definitely had to go through a lot of hoops putting in an application with the city of Boulder, to make sure we are following all of the safety precautions for performing live,” Dianela Acosta, the company’s artistic director, says.
“The event is going to be capped at 175 people, and we usually attract between 400 and 600. We have to do social-distance seating, and everybody has to wear masks. We’re going to have to set out some areas where people can sit and be six feet away from each other.
The performance is free, Acosta notes, but audience members have to register in advance through Boulder Opera Web page , and bring a copy of their registration with them. Boulder Opera staff will be on hand to direct people to their seats and ensure that no-one who is not registered gets inside the audience area.
“Our overhead expense have gone up, because there’s lot of work we have to do to prepare for this,” Acosta says. “And then, for the performer’s safety, we follow the same guidelines, and there’s going to be a protective plastic barrier in front of the stage.”
The program is divide into two halves, each with its own theme and content. “You can register for the first part, or the second part of the concert, or you can register for both parts,” Acosta explains. The music from operas based on fairy tales, including “Hansel and Gretel” and “Cinderella,” on the first part might be more family oriented. The second part features music from a popular Spanish style of light opera, Zarzuela.
Featured on the first half will be a scene from Hansel und Gretel by Humperdinck; an aria from Rimsky Korsakov’s Snow Maiden; “Olympia’s Song” and the “Barcarolle” duet from Offenbach’s Tales of Hoffman; “Song to the Moon” from Rusalka by Dvořák, an opera based on the same folk tale as “The Little Mermaid”; a duet and quartet from El Gato con Botas (“Puss in Boots”) by Spanish composer Xavier Montsalvage; and several numbers from La Cenerentola (“Cinderella”) by Rossini.
Forming the second half of he program, “Zarzuela is a traditional opera from Spain,” Acosta says. “It’s based on the folkloric tales and folk songs that have been adapted for operatic singing. And it’s very well known in Spain.”
Dating from the late 19th and early 20th centuries, the Zarzuela is contemporaneous with the rise of operetta and musical comedy in the U.S. Neither the titles nor the composers—including Gerónimo Giménez, Federico Moreno-Torroba and Francisco Barbieri—are familiar to American audiences. Singers for both halves of the program are members of the Boulder Opera company, including Acosta herself. They will be accompanied on piano by Nathália Kato, the BOC staff pianist.
“Our theme is opera for people, and we want to bring these beautiful pieces to our audience as a way to bring the community together,” Acosta says. For those we cannot be brought together on this occasion, when the audience size is limited, the performance will be live streamed through the BOC Facebook page.
“That [distanced performing] is going to be just for a little while, and then we are going to hopefully meet together soon again,” Acosta says. “[Online viewing] cannot replace live performances. That’s the beauty of what we do, performing in a live stage!
“Nothing can substitute for what it means to be sitting there and feeling the vibration of the voice in the instant.”
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Boulder Arts Outdoors: “Drive-in Festival” 6:30 p.m. Friday–Sunday, Aug. 14–16 Gerald Stazio Softball Fields parking lot Tickets
Boulder Opera: “Fairy-Tale Opera, Zarzuela and Dance” 7 p.m. Saturday, Aug. 29: Fairy-Tale Fantasy 8:10 p.m. Saturday, Aug. 29: Zarzuela and Dance Boulder Bandshell, 1212 Canyon Drive Tickets Live stream on the Boulder Opera Facebook page.
Some people who are stuck at home during the coronavirus pandemic will binge-watch old TV shows. David Korevaar plays Beethoven.
And he’s sharing it with anyone who wants to listen.
David Korevaar. Photo by Matthew Dine.
Korevaar, the Helen and Peter Weill Faculty Fellow and a distinguished professor of piano at the CU Boulder College of Music, is planning to play all of Beethoven’s 32 piano sonatas over 60 days. Each will be posted in turn on his YouTube channel.
A great musical legacy from the classical period, the 32 Beethoven sonatas have become one of the most important challenges pianists—and their audiences—can undertake. They cover just about his entire creative career, from the first sonatas, published in 1795, to the very last sonata, published five years before his death in 1827. As such, they document his stylistic development better than any other single genre.
As of Friday, March 27, Korevaar has posted performances of sonatas nos. 1 to 5—Op. 2 no. 1 in F minor, Op. 2 no. 2 in A major, Op. 2 no. 3 in C major, Op. 7 in E-flat major and Op. 10 no. 1 in C minor—with the remaining 27 to follow in order, through Sonata No. 32 in C minor, Op. 111.
Beethoven, 1818. Sketch by August von Kloeber
Playing all the Beethoven sonatas is something that Korevaar had long wanted to do. In a way, the social distancing and self-isolation imposed by the pandemic provided the ideal opportunity. “Artists are finding ways to continue to be artists and for me this seemed like something that I could do at this moment, and share with people,” he says.
“I had been thinking about doing the Beethoven cycle, but I haven’t gotten to the point of really doing it. Here we are, we’re all stuck at home, and so I find myself in this situation of ‘Here is an opportunity to do this project and share it with whoever is interested.’ It’s a gift to myself and a gift to everybody else at the same time.”
One reason for doing all the sonatas one after another is that you can learn from playing or hearing a larger array of Beethoven’s works than from just the greatest hits that are played most often. This provides insight into his revolutionary place in music, Korevaar believes. “With his classic status, we accept Beethoven as normal,” he says. “We’ve normalized him.
“Beethoven, in his time, didn’t represent a norm. He represented something else, he represented something extraordinary. I hope the audience discovers just how wonderful and strange Beethoven is. Beethoven’s a very strange composer, and a very playful composer, and those are things that really come through in these piano sonatas.”
Another point that Korevaar stresses is that Beethoven belonged to the first generation of composers for whom the piano specifically was their natural means of musical expression. Earlier composers—Mozart and Haydn and composers before them—knew a variety of keyboard instruments, harpsichords and clavichords and organs and early pianos.
“Beethoven is the first composer we talk about a lot in music history who was native to the piano,” Korevaar says. And while there are others of the same generation—the Czech composer Jan Ladislav Dussek and the Italian Muzio Clementi for example—they are largely forgotten today. “Dussek and Clementi are perpetually underrated,” Korevaar says. “They have their strengths and charms, but the truth is Beethoven is a much better composer.”
Knowing that context helps the listener understand why Beethoven’s earliest sonatas are so difficult from the very beginning. “There’s a sense of Beethoven saying ‘Look, I can do things on the piano with my two hands that even the best of the other pianists really can’t quite come up to that level’,” Korevaar says.
Korevaar admits that the sound may not be ideal on his made-from-home recordings. “Resources are limited, and the bandwidth is limited—just the quality of video that one can post off a home internet connection,” he says. “I’m recording QuickTime videos using my laptop camera and external mic. That’s all I’m doing.
“I’ve giving myself multiple shots at these things. With the few that I posted so far, I recorded them twice and then chose the one I like better. If it’s not good I’m not going to put it up. Hopefully people agree that they’re OK.”
In the end, it’s not so important to Korevaar whether a large number of people listen to his performances. “If there are people who are interested, it’s great,” he says. “And if there aren’t, I will still have done it and learned something from the process.”
Would you want to see West Side Story without the dancing?
Amanda Balestrieri, director of the Seicento Baroque Ensemble in Boulder, says that’s the effect of hearing French Baroque music without dance. “If you have the music without the dance, it’s not complete,” she says. “It would be like going to see musical theater without the dance and chorus numbers.”
Seicento Baroque Ensemble
To illustrate that point, Seicento has brought in a French Baroque singer/dancer, Elena Mullins, for their next concert. “Airs and Graces” will be performed in Denver Friday and in Longmont Sunday (March 13 and 15). The program will include numbers for Mullins as well as solo vocal pieces and full choral numbers with orchestra.
Several local singers will perform as soloists. Tenor Alex King and bass Allen Adair will take roles in scenes from French opera and a cantata. Soprano Kendall Baldwin, a senior at Fairview High School in Boulder, will perform alongside 5th-grade students from Escuale Bilingüe Pioneer in Lafayette.
Costume design for King Louis XIV as the Sun
Dance and music were closely related throughout the Baroque era, but especially so in France. Entertainment at the French court, including opera, featured extensive dance as well as singing, performed by professionals as well as members of the court, including the king. The dances were highly refined, with many moves and gestures that conveyed coded meanings to the audiences, and eventually led to the development of classical ballet.
Today Baroque music from Germany and Italy has eclipsed French music of the period, which has become more and more of a specialized field. Even less well known than French Baroque music is the dance that went with it.. “This is an esoteric corner of an esoteric art,” Balestrieri says.
As far as Balestrieri knows, this will be first time in the Boulder area that French Baroque music has been performed together with authentic dances. She wanted to showcase the two together, for both Seicento members and the audience. “I wanted this to be an encompassing concert,” she says.
“I wanted the choir to have the experience of the music. I wanted the dancer to give that element for people to understand the visual side, and also the fact that it was combined with singing and music.”
Like performers at the French court, Mullins is both a singer and a dancer. She will appear in the first piece on the program, singing La Musique (the allegorical character of music) in an excerpt from Les arts flourissants (The flourishing arts), a chamber opera by Marc-Antoine Charpentier.
She will then appear as a dancer, performing a series of standardized Baroque dances, in Les caractères de la dance by Jean-Féry Rebel. “‘The Characters of the dance’ was a famous piece from the time that was supposed to show you all the different dance styles,” Balestrieri says. It includes a courante, menuet,bourrée, sarabande and gavotte, among other courtly dances that also found their way into the instrumental music of the period.
Portrait of Jean-Baptiste Lully by Paul Mignard
The rest of the program will feature examples of French Baroque music, performed without choreography. There will be several excerpts from the opera Bellérophon by Jean-Baptiste Lully, who was composer and music director to the court of King Louis XIV, as we’ll as a dancer. One particularly entertaining scene features a trio of sorcerers with a chorus of sorcerers and sorceresses. “It’s really clever, very hard for the chorus,” Balestrieri says.
To open the second half of the program, Balestrieri will sing two airs de cours (courtly airs) about the pain and pleasure of love. Baldwin and the 5th-grade students will sing Plaisir d’amour by Jean-Paul Égide Martini, a song that has been popular for more than two centuries, and that became the basis of Elvis Presley’s “Can’t help falling in love with you.”
“The other piece I’m excited about is the cantata by Montéclair called The Triumph of Love,” Balestrieri says. The cantata features three singers—a narrator with Bacchus and Cupid, the gods of wine and of love.
“The scene is a hillside where Bacchus commands his grape pickers,” Balestrieri explains. “He’s in control, and then Cupid flies in and interferes by making everybody fall in love and languish. He has a fight with Bacchus, [until] Bacchus falls in love and accepts love in his court. They agree to cooperate, and then we sing, ‘Just grab a bottle of wine and rekindle the fires of love.’ I love it—it’s so fantastically French!”
Balestrieri wanted to include the children in the performance as a way of spreading knowledge of the French Baroque as well as enriching their education. “The kids who do this don’t yet know how fabulous this is,” she says. “But when they come in and they see this dancer in costume and they hear this music, they will never, ever forget it. And that is important, because you never know who is going to be smitten with this art.”
But the combination of music and dance is not an easy thing pull off. It requires not only specialists in the French Baroque style, it requires dedicated performers who can learn complex music, and it requires a specialist in both the singing and the dance of the French court. Even in major cities, opportunities to see and hear an authentic music and dance performance of this repertoire are rare.
“We have something that will not appear here again anytime soon,” Balestrieri says. “If people want to see it, now’s the time to come!”
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Airs and Graces: Song & Dance in the French Baroque
Seicento Baroque Ensemble, Amanda Balestrieri conductor
With guest artists Elena Mullins, Baroque dancer and soprano; Alex King, tenor; Allen Adair, bass; Kendall Baldwin, soprano; students from Escuela Bilingüe Pioneer; and instrumental ensemble
7:30 p.m. Friday, March 13, Claver Recital Hall, Regis University, Denver
3 p.m. Sunday, March 15, Stewart Auditorium, Longmont Museum, Longmont
Marc-Antoine Charpentier: Excerpts from Les arts florissants Jean-Féry Rebel: Lex caractères de la danse: Fantasie Jean-Baptiste Lully: Excerpts from Bellérophon Jean-Paul Égide Martini: Plaisir d’amous Michel Pignolet de Montéclair: Le triomphe de l’Amour
High drama from Hollywood to Peter Schaefer’s Amadeus to Wagner’s Ring Cycle
By Peter Alexander March 9 at 3 p.m.
The Boulder Philharmonic’s recently announced 2020–21 season will feature a full production of Peter Schaeffer’s Tony-winning play Amadeus, with live actors and orchestra; the return to Boulder of popular soloists Rachel Barton Pine (violin) and Jake Shimabukuro (ukulele); and two new works that were co-commissioned by the Boulder Phil.
Other highlights of the season will include concert music by Hollywood composers, an orchestral compilation of the most popular music from Richard Wagner’s epic four-opera cycle, The Ring of the Nibelungen, and a quirky 10-minute mashup of all nine Beethoven symphonies by Dutch composer Louis Andriessen.
Charlie Chaplin in “Modern Times”
The orchestra’s 63rd season opens Oct. 3 with “From Vienna to Hollywood,” a concert featuring music by Charlie Chaplin, written for the film Modern Times; a violin concerto by Erich Wolfgang Korngold, a transplanted Austrian composer of film and concert music who lived in United States in the 1930, ‘40s and ‘50s, performed by violinist Philippe Quint; and Brahms’s First Symphony.
The remainder of the season comprises five further main season concerts, including the live performance of Amadeus Jan. 23, 2021, plus the annual performances of Nutcracker with Boulder Ballet Nov. 27 and 29, and “Jake Shimabukuro & the Boulder Phil” Feb. 6. (See the full listing of concerts and dates, below.)
Rachel Barton Pine
The first of the two co-commissions will be performed Feb. 3, as part of a program titled “Ravishing Rachmaninoff.” Rachel Barton Pine, who was last in Boulder in 2014, will play the new Violin Concerto written for her by jazz pianist/arranger Billy Childs, which was commissioned by a number of orchestras around the country. The concerto is one of several projects Pine has undertaken to amplify African-American voices in classical music.
The season’s other new piece, Drew Hemenger’s Ozymandias, was initiated by the Boulder Phil and commissioned together with the Rogue Valley Symphony of Ashland, Medford and Grants Pass, Ore. A musical response to climate change, Ozymandias will feature tenor Matthew Plenk, faculty member at the University of Denver, and the University of Colorado Festival Chorus.
Scenic design from the 1876 first performance of Wagner’s Ring Cycle
Ozymandias will be part of a program titled “Epic Tales,” although it might as well have been titled “Downfalls.” In addition to Hemenger’s score about climate change, the concert will include two other works that illustrate tales about bad choices that lead to bad results: Richard Strauss’ epic tone poem Don Juan, whose protagonist ends up in hell; and a 45-minute compilation of orchestral highlights from Wagner’s Ring Cycle, which ends with Brunnhilde’s fiery immolation and the collapse of Valhalla.
The selection includes the most popular excerpts from Wagner’s four-opera cycle, presented in order: “The Entry of the Gods into Valhalla,” “The Ride of the Valkyries,” “Magic Fire Music,” “Forest Murmurs,” “Siegfried’s Rhine Journey” and “Brunnhilde’s Immolation Scene.” “It runs about 45 minutes, so we’ve cut out about 14 hours,” writes Boulder Phil music director Michael Butterman by email.
“Come to think of it, “ he adds, “We’re doing a lot of distilling this season: Mozart’s life in one evening, all of The Ring Cycle in 45 minutes; and Beethoven’s Nine Symphonies in 10 minutes.”
The “Season Finale” will take place May 2, 2021, with Andriessen’s 10-minute mashup of all nine Beethoven symphonies, The Nine Symphonies of Beethoven; Beethoven’s full, unexpurgated Third Symphony, the “Eroica”; and new Takacs Quartet member Richard O’Neill playing William Walton’s Viola Concerto.
Violist Richard O’Neill
“Our goal is to create programs and experiences that resonate with the artistic and intellectual pulse of our audience,” Butterman writes. “A work about our changing planet, a hybrid concert-play, a quirky condensation of Beethoven’s symphonies in 10 minutes—these are experiences that I believe Boulderites will enjoy.”
Additional events in the 2020-2021 season include concerts at Boulder Public Library, “Events of Note” featuring guest artists in intimate venues, pre-concert talks with Butterman, the #nophilter Happy Hour series with a string quartet of Boulder Phil musicians playing pop, rock, and metal, and the continuation of the “Nature & Music” guided hikes with Boulder Open Space & Mountain Parks naturalist Dave Sutherland.
Subscription packages are now available,. For more information, call 303-449-1343 or click here. Single tickets will go on sale June 1.
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Boulder Philharmonic: 2020–21 Season
(All performances in Macky Auditorium unless otherwise indicated)
“From Vienna to Hollywood”
7:30 p.m. Saturday, Oct. 3
2 p.m. Sunday, Oct. 4, Pinnacle PAC
Michael Butterman, conductor
Philippe Quint, violin
Charlie Chaplin: “Smile” from the film Modern Times Erich Wolfgang Korngold: Violin Concerto
Brahms: Symphony No. 1 in C Minor, pp. 68
Mozart’s Marriage of Figaro at CU has been canceled
By Peter Alexander March 5 at 5 p.m.
CU Production of Marriage of Figaro. Photo by Glenn Asakawa.
Conductor Nick Carthy says that Mozart’s TheMarriage of Figaro is “the first great proto-feminist opera, and on top of that it’s subversive, it’s seditious, it’s bawdy, and Mozart wrote it!”
Widely considered one of the greatest operas ever written, TheMarriage of Figaro will be presented by the University of Colorado Eklund Opera Program March 13-15. Carthy will conduct the student orchestra and cast, and Eklund Opera Program director Leigh Holman will be stage director.
Figaro, servant to the Count Almaviva, is about to marry Susanna, servant to the Countess. The Count, however, desires Susanna and wants to re-instate an old feudal right for masters to sleep with servants when they marry. The Countess and Susanna, and to a lesser extent Figaro, plot together to embarrass the Count and force him to abandon his plans.
There are many other twists involving minor characters, but those revolve around, and reinforce the main themes of, the plot: Not only do the servants thwart their master — a common basis for comedy in the 18th century — but the women foil the men. That is especially powerful, and is one of the things — with Mozart’s music — that elevates Figaro above other operas of its time.