“Nature and Music”: one of Boulder Phil’s best performances

Green bandanas waving, the orchestra departs for Washington, D.C.

By Peter Alexander

The concert opened with the swirling, magical sounds of a new score from Stephen Lias, and ended with the players waving green bandanas in the air.

Last night (March 25), the Boulder Philharmonic and conductor Michael Butterman presented “Nature and Music,” the same program they will perform Tuesday, March 28, in the Kennedy Center Concert Hall in the nation’s capital as part of the first Shift Festival for American Orchestras.

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Michael Butterman and the Boulder Philharmonic

The Boulder Phil is one of only four orchestras invited to the festival, and the only regional orchestra. As reported earlier in Boulder Weekly, their application to the festival, based on the orchestra’s programming, community outreach, and collaborative performances, was considered by the festival panel to be the “gold standard” of what they were looking for.

To represent the Boulder Phil’s recent emphasis on music written to celebrate nature, their program for the festival featured a new orchestral score commissioned from Lias as part of the National Endowment of the Arts’ “Imagine Your Parks” initiative, celebrating the 2016 centennial of the National Parks Service. Titled All the Songs that Nature Sings, it was inspired by Rocky Mountain National Park.

Other works on the program were drawn from previous concert programs: Jeff Midkiff’s Mandolin Concerto, with Midkiff as soloist; Ghosts of the Grassland by Steve Heitzig; and Copland’s Appalachian Spring, performed with choreography by Boulder’s Frequent Flyers Aerial Dance company.

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Stephen Lias in Rocky Mountain National Park

Lias took his title from the writings of Enos Mills, “The Father of Rocky Mountain National Park.” Accompanied by slides of the park selected by Lias, the music suggests a cinematic view of the park’s high country, starting with streams and lakes, culminating with rocky crags and ridges, and ending with mountain wildflowers.

Lias has written a thoroughly engaging piece. The almost impressionistic haze of sound of the opening measures pulls the listener into a world of nature at its most lovely and benign. As the music swells, lyrical melodies and powerful chordal passages are enlivened by rippling lines and repeated chords, forming a musical metaphor for scenes in nature that are always in motion: water rippling, leaves fluttering, light flickering.

The score reaches a rugged climax with stark brass chords, accompanied by views of the park’s most impressive peaks. It then ends gently, with a tender violin solo that was ably played by the Phil’s concertmaster, Charles Wetherbee.

Butterman and the Boulder Phil had the music well under control from the beginning to the end. As played last night, the cinematic sweep of the score created a clear outline. This is a thoroughly successful piece that should find appreciative audiences wherever it is performed.

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Jeff Midkiff

Midkff’s Mandolin Concerto, subtitled From the Blue Ridge, is a mix of classical idioms with folk and bluegrass, all of it sounding comfortably American. The lightening lines of the first movement do not have much to suggest music from the Blue Ridge Mountains, other than the folksy sound of the mandolin. The second movement recalls Copland ‘s Americana, filled with a nostalgic sweetness. The finale settles into a jazzy bluegrass groove that fits the mandolin and its natural idioms perfectly.

From the rapid fire opening, to the plaintive slow movement, to the down-home finale, Midkiff was on top of every mood, and his final virtuoso flourish brought the audience to their feet. He rewarded the cheering crowd with his own arrangement of “Monroe’s Hornpipe” by the great bluegrass mandolinist/songwriter Bill Monroe.

It does no dishonor to Heitzig’s Ghosts of the Grassland to say that it has the emotional immediacy of a good film score. It is easy to imagine the dramatic gestures and mood changes representing—what exactly? The dramatic weather of the American prairie, or a primordial scene of bison and prairie grass (both represented in the percussion section)?

But everyone has their own imagination. Once again the Boulder Phil conveyed the musical drama well, and piping squeals notwithstanding, I believe that no prairie dogs were harmed in the performance.

Originally written as a ballet, Copland’s Appalachian Spring is obviously suited to various forms of interpretation, of which Frequent Flyer’s aerial dance represents one of the more original. As realized by Nancy Smith, the choreography has some magical moments that are almost ritualistic in effect, especially the beginning and the end.

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Frequent Flyers with the Boulder Philharmonic

In between, the dancers, for all their impressive strength and grace, did not always avoid an element of spectacle. What they do is so obviously difficult, so unimaginable to most in the audience, that it becomes hard to translate admiration for the athleticism of the performance into appreciation for its artistry. Nonetheless, their Appalachian Spring is a remarkable achievement.

As impressive as Frequent Flyers were, it would be a mistake to overlook the orchestra. Clearly primed for the festival, they presented just about the finest standard work I have heard them perform. You may hear more splashy performances, but Butterman’s restrained approach is more in keeping with Copland’s original conception, and it brings out all of the score’s considerable tenderness.

This is a very attractive program, and one that fits the orchestra’s strengths. Word is that the Boulder Phil is outselling the other orchestras in the festival, and they stand to make a very solid impression.

As for the green bandanas: The Shift Festival sent bandanas to every orchestra—”because we like bandanas,” Butterman said, sounding bemused. And so as the audience stood and cheered its well wishes to the orchestra for their trip to Washington, the players stood and waved their bandanas in response.

Maybe that’s what they were for: I could not imagine a more cheerful bon voyage than 80 green bandanas waving from the Macky stage. I join all of Boulder in wishing them a safe trip and a great reception at the Shift Festival.

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Shift Festival of American Orchestras

Nature & Music
Boulder Philharmonic Orchestra, Michael Butterman, music director

All the Songs that Nature Sings by Stephen Lias (world premiere)
Mandolin Concerto, From the Blue Ridge by Jeff Midkiff
Jeff Midkiff, mandolin
Ghosts of the Grassland by Steve Heitzig
Appalachian Spring by Aaron Copland
With Frequent Flyers Aerial Dance
Nancy Smith, choreographer

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John F. Kennedy Center for the Performing Art, Washington, D.C.

8 p.m. Tuesday, March 28, Kennedy Center Concert Hall, Washington, D.C.
Tickets: 202-467-4600

 

“The role of an orchestra is to reflect the values of the community, just as it is to open doors and windows to the rest of the world.”

—David Handel, candidate for Music Director of the Longmont Symphony

By Peter Alexander

Each of the four candidates for music director of the Longmont Symphony Orchestra will conduct a concert during the 2016–17 season. When each candidate visits Longmont, I will take the opportunity to introduce him with serious questions about the job of a music director, as well as questions that help introduce each of them to the reader. I hope this will give a clearer picture of the strengths of each candidate.

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David Handel

The second candidate, David Handel, will conduct the orchestra on Saturday, Jan. 28. The following works are on the program: George Frideric Handel’s Overture to Music for the Royal Fireworks, Mendelssohn’s Violin Concerto with violinist Geoffrey Herd, and the Symphonie Fantastique of Hector Berlioz.

Here are his answers to the questions I asked:

PA: What attracted you to the Longmont Symphony?

DH: There are announcements of these music director positions, and you don’t apply if you’re not interested. And the first thing to do is to investigate the orchestra. I had not heard about the orchestra before, so I investigated online, and I was impressed. And what most impressed me was when I looked for them on YouTube, and I was surprised that a community this size had an orchestra that performed on that level.

The LSO clearly possesses a professional mentality and level of accomplishment, but with a community spirit. I can only imagine that this is due to Robert Olsen’s leadership over 34 years, and the human qualities of the LSO musicians. [Because of] my background and considering my passion for orchestra building, to say nothing of the unique demographics of Longmont and the combined communities’ potential for growth, I thought that this might be a good fit.

How do you think about programming for a community orchestra? What would a season of the LSO with David Handel look like?

It’s precipitous to give you a clear idea. I think before you can structure a season you really need to dig your hands in and get them dirty and get to know the people, their preferences and the different elements in the community.

When you program a season, you really want to be thinking about what’s the makeup of that community. Otherwise, there’s no way you can achieve being relevant to the community and participate in a dynamic dialog with the contents of the community. So that’s essential. I would say that that the role of an orchestra in its programming is to reflect the values of the community as a whole, just as it is to open doors and windows to the rest of the world.

The programs I’ve seen of the orchestra in past years has been very traditional, and there’s nothing wrong with that at all— you don’t want to alienate the public. But at the same time, you want to provide an opportunity to the musicians in the orchestra, because they do it because it’s their passion, and to the public, because they’re thrilled to appreciate the art of members of their community. So you want to achieve the right balance between opening doors and windows, and performing what people in this community love.

There have recently been alarm bells for classical music and orchestras, especially the larger orchestras that have had serious budget issues and labor disputes. Do you think that these problems will affect community orchestras as well? And if not, what do you think are the challenges for the smaller orchestras?

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Conductor David Handel

I think that’s a really interesting question, because I think that in the United States, the community and regional orchestras are really the future of live classical music. They can be more flexible, in terms of the number of programs they present in a year, in terms of making decisions about institutional priorities.

Second, if you look at the enormous orchestras, like the New York Philharmonic, which probably has a $100 million dollar budget, or Buffalo Philharmonic, which has a barely $10 million budget, the issues that they confront of maintaining a staff adequate to meet the needs of the administration are just insane in relation to what an orchestra does. By way of example, the Chicago Symphony up until the 1950s had an administrative staff I think of just five or 10 people. Today, their administrative staff is larger than the orchestra, just to find the money to sustain themselves. So those kinds of organizations are perceived as unhealthy. But of course they can continue on, some better than others, because there is so much wealth concentrated in that community.

On the other end of the spectrum, the community orchestras, which can perform on a very high artistic level, don’t depend on such enormous budgets. They are also linked to the community on a human level—in other words, it’s not just 90 musicians onstage in a city of 10 million people. It may be a community of 100,000, and 90 people onstage that they’re going to see in the restaurants and cafes and diners in their community. In that sense, I think regional and community orchestras are better positioned than the big corporate orchestras.

How do you balance and prepare for the various aspects of the conductor’s job: the musical requirements, the social demands with the public, and the diplomatic demands with contributors, the board and musicians?

I’m the music director of two orchestras, and balancing those demands obviously is critical. I would say principle number one is that you’re not a politician, and by that I mean you’re not there to manipulate and you’re not there to articulate any political perspective. Your group of people, whether it’s the board, the orchestra itself, or the public will have people from every segment of the political spectrum. As the face of the organization, it’s not your job to take a position and suggest that your values reflect the public’s values, the orchestra’s values, or the board’s values.

The number one priority is artistic excellence, and it doesn’t matter whether it’s a professional, semi-professional, or amateur orchestra: all of the people who are performing on stage, every one of them wants to participate in a magical, artistically rewarding experience.

Also part of the balancing act is that your job is to be able to synthesize the values of the board of directors, the musicians and the community, and intuit a vision for the organization, from day one looking five years down the road.

Another element is that to conduct well, you need to somehow be a natural leader. There are all kinds, but you have to somehow have that capacity of persuasion. One of my teachers coined a phrase: the impulse of will. Beyond this part (waving his arms), which is traffic management, you have to be able to project what it is you want. That goes to the rehearsal and the performance, just as it does to the board meeting.

And being a music director means being in some way a brother, an uncle, a father. I can’t tell you how many weddings and funerals that I’ve been to, and that’s been tremendously rewarding for me.

About you, now: Where did you grow up?

I’m from Buffalo New York, until I was 16, and then I went to the University of Michigan in Ann Arbor. I loved it there. I just had wonderful teachers.

Did you come from a musical family?

Yes and no. I’m an adopted child, but I know my biological family. They are all artists—painters and singers and composers. My biological mother taught painting, and they were beatniks! They were crazy people, so I’m glad they offered me up for adoption. I had the most wonderful (adoptive) parents you could dream up. They don’t have a musical background but they are music lovers, so I had the good fortune of having a subscription to the Buffalo Philharmonic from the time I was 10, and started violin at 6. They supported every artistic interest and instinct I had.

masur-kurt-117Who are your musical mentors?

There are a lot of them, but the main mentor was Kurt Mazur, since I served as his assistant conductor. That made a huge impact on me.

Also [violinist] Ruggiero Ricci. At one point my father wanted to put his foot down and say, ‘David, Handel cannot be a musician!’ [laughs] You need to do something serious.’ So I picked up my bike, got on a greyhound bus. I called Ricci and said, this is my situation. He said, ‘Come stay with me,’ so I stayed with him, and the great thing was I had lessons all the time! Then Ricci called my father, and my father felt it was good counsel. He understood.

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Ruggiero Ricci

An additional mentor was Gustav Meier, recently deceased and the dean of conducting teachers in the U.S., a former Bernstein assistant.

Are there any other conductors whose work you especially admire?

The list is long. Wilhelm Furtwangler—his interpretive mind was always working and was very creative. Leonard Bernstein, of course. Colin Davis, Wolfgang Sawallisch, Riccardo Muti—a lot his repertoire is very exciting. Carlos Kleiber of course.

Moving on to some less serious questions: Do you have a favorite food?

I am a foodie, but it’s not just one favorite. I like lots. I love Mexican food—who doesn’t? I love French sauces, I love Russian food. You don’t see many Russian restaurants but its really, really tasty. My wife is from Turkmenistan, a central Asian country, so I like central Asian cuisine. I like sushi. I’m an omnivore.

I eat out on the road, and I love culinary adventure, but at home I love to cook. I think that every conductor thinks of himself as a chef.

As you know, Colorado is an outdoor recreation state. Do you have a favorite activity outdoors? Or are you too busy shut up in your studio studying scores?

I suppose my two favorites are skiing and canoeing. So when you asked about why the Longmont Symphony, that’s a perk.

Do you follow any sport or team?

You know I really don’t follow sports, but if the Buffalo Bills are playing or Michigan is playing, then I take an interest. That has more to do with loyalty than a particular interest. Otherwise, I love baseball, in part because the rules of the game allow for human nature—stealing bases! And because the pitcher’s role is so dynamic. And the rhythm of the game, fast, slow, fast.

From opposite ends of the spectrtum

Pro Music Colorado offers “Love and Death” through Schubert and Shostakovich

By Peter Alexander

The next concert from the Pro Musica Colorado Chamber Orchestra and conductor Cynthia Katsarelis will bring together two opposing worlds.

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Dmitri Shostakovich

The concert, titled “Love and Death,” will be presented Friday in Denver and Saturday in Boulder. There are only two works on the program: the Symphony No. 14 by Shostakovich, a vocal-orchestral meditation on death; and Schubert’s frolicsome Symphony No. 5. Soloists for the Shostakovich, singing poetic texts by Federico García Lorca, Guillaume Apollinaire, Wilhelm Kuchelbecker and Rainer Maria Rilke, will be soprano Jennifer Bird-Arvidsson and bass Ashraf Sewailam.

The two works come from the opposite ends of the emotional spectrum. “Right, and that’s by design,” Katsarelis says. “The Shostakovich is really intense, and you don’t want to leave people on their own at the end of this piece. The Schubert is a sublimely beautiful feel-good piece, and it will be a good antidote to the emotional intensity of the Shostakovich.”

Read more at Boulder Weekly.

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Jennifer Bird-Arvidsson

“Love and Death”
Pro Musica Colorado Chamber Orchestra, Cynthia Katsarelis, conductor
Jennifer Bird-Arvidsson, soprano, and Ashraf Sewailam, bass

Shostakovich: Symphony No. 14
Schubert: Symphony No. 5

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Ashraf Sewailam

7:30 p.m. Friday, Jan. 20, First Baptist Church, 1373 Grant St, Denver
7:30 p.m. Saturday, Jan. 21, First United Methodist Church, 1421 Spruce, Boulder

Tickets

Shining a light on a musical ‘blind spot’ in Vienna

One hundred years of music from the Hapsburg Court

By Peter Alexander

Vienna’s rich musical heritage of the Classic-Romantic periods is very familiar to audiences. But for a full century before Haydn or Mozart ever set foot in Vienna, the Austrian capital had a musical culture that scholar/performer Mario Aschauer calls “a phenomenon unique in music history.”

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Scholar/performer Mario Aschauer uncovers the forgotten music of Vienna with the Boulder Bach Festival

Between 1637 and 1740, four consecutive Hapsburg emperors were trained musicians and composers. “They had an amazing court (music establishment),” Aschauer explains. “They had international personnel and produced an unspeakable amount of music in pretty much every genre that was popular at the time.”

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Zachary Carrettin playing the cello da spalla

To open the door on these riches of the Baroque era, the Boulder Bach Festival has invited Aschauer to present “A Journey to Vienna with Mario Aschauer,” a concert of music from the Austrian court, to be presented Thursday in Boulder and Saturday in Longmont. The program features both operatic and instrumental selections, performed by Aschauer on harpsichord; the Bach Festival’s director, Zachary Carrettin, on Baroque violin and his recently revived cello da spalla; and by soprano Jennifer Bird-Arvidsson, who performed with the Bach Festival in last season’s performance of Bach’s St. Matthew Passion.

Works on the program include music by one of the emperors and court composers of different generations. There are pieces for keyboard alone, a sonata for violin and keyboard, and several arias with an obbligato instrument—an instrument that becomes a duet partner with the singer.

Read more in Boulder Weekly.

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Soprano Jennifer Bird-Arvidsson

Journey to Vienna, with Mario Aschauer, harpsichord
Zachary Carrettin, Baroque violin and cello da spalla
Jennifer Bird-Arvidsson, soprano

Music by Emperor Leopold I, Georg and Gottlieb Muffat, Atonio Caldara, Attilio Ariosti and Johann Joseph Fux.

7 p.m. Thursday, Dec. 8
Grace Lutheran Church, 1001 13th St., Boulder

7:30 p.m. Saturday, Dec. 10
Stewart Auditorium, 400 Quail Rd., Longmont

Tickets

 

Boulder Chamber Orchestra presents music grown from friendship

By Peter Alexander

David A. Jaffe’s new Violin Concerto grew out of a friendship between the composer and a Colorado violinist.

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Karen Bentley Police in her Evergreen home

Karen Bentley Pollick, who lives in Evergreen, will play the American premiere of the concerto, titled How Did it Get so Late so Soon?, Friday in Broomfield and Saturday in Boulder. The concerto is part of “The Americans,” a program by the Boulder Chamber Orchestra (BCO)and conductor Bahman Saless. 

Other works on the program are the Air and Gavotte for strings by Arthur Foote, the Adagio for Strings by Samuel Barber, and Aaron Copland’s much loved Appalachian Spring. The all-American program is designed as a tribute for Veteran’s Day, which coincides with the Friday concert. As part of the observation, BCO is offering free tickets to all veterans, available at the door both dates.

Pollick played the world premiere of Jaffe’s concerto, which was written for her, at the Tytuvenai Festival in Lithuania on Aug. 27 of this year. “I strongly believe music is made between people who know each other,” she says. “The history of music is people writing with and for people that they’re fond of.”

Pollick and Jaffe met in the 1980s, when the composer was working at Stanford University’s Center for Computer Research in Music and Acoustics. Since then, the violinist has played several of his works, including Impossible Animals for violin and computer-generated voices, and his Cluck Old Hen Variations for solo violin.

“Come with open minds, and we’ll have a love fest through Copland’s Appalachian Spring, Barber’s Adagio, and the U.S. premiere of this concerto” Pollick says.“My dream is to unite our audience through the celebration of eloquent varieties of American music, and the U.S. premiere of the violin concerto, creating a transcendent and memorable experience for all present.”

Read more in Boulder Weekly.

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“The Americans”
Boulder Chamber Orchestra, Bahman Saless, conductor
With Karen Bentley Pollick, violin

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Arthur Foote: Air and Gavotte
Samuel Barber: Adagio for Strings
Aaron Copland: Appalachian Spring
David A Jaffe: Violin Concerto, How Did it Get so Late so Soon? (U.S. premiere)

7:30 p.m. Friday, Nov. 11
Broomfield Auditorium, 3 Community Park Rd., Broomfield

7:30 p.m. Saturday, Nov. 12
Boulder Adventist Church, 345 Mapleton Ave., Boulder

Concerts free for Veterans
Tickets

 

Consummate concerto performance ends the summer for CMF

Stravinsky, Schubert and Beethoven make a perfectly balanced program

By Peter Alexander

The 2016 Colorado Music Festival (CMF) came to a conclusion last night (Aug. 7) with a perfectly balanced program of three individual works, and one consummate performance of a popular concerto.

It was a fine way to end the summer.

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CMF Music Director Jean-Marie Zeitouni

For the program, music director Jean-Marie Zeitouni chose works that formed a tight key relationship, and that grew in size as they moved forward on the concert but backwards in time. They were Stravinsky’s Concerto in E-flat major “Dumbarton Oaks” for 14 instruments (1938); Schubert’s Symphony No. 5 in B-flat major for small orchestra (1816); and Beethoven’s Piano Concerto No. 5 in E-flat major, known as the “Emperor” Concerto (1811).

Not only was there a logical flow to the program, the works were well balanced for style and impact. An exemplar of Stravinsky’s bracing neo-classical style, “Dumbarton Oaks” is both elegant and humorous—“cheeky” is what Zeitouni calls it. It makes an ideal opener, cleansing the palate for whatever comes after. The symphony, written when Schubert was only 19, is slightly more serious, but always cheerful and a joy to hear: audience comfort food. And the “Emperor,” by far Beethoven’s most popular concerto, is a serious and imposing main dish that makes a brilliant end to any program.

Zeitouni’s collaborators for this program were of course the excellent players of the CMF Chamber Orchestra, and for the “Emperor,” the remarkable pianist Olga Kern, whose 2013 traversal of the Rachmaninoff concertos in three nights remains one of the touchstones of the festival.

The performance of Stravinsky’s rhythmically tricky concerto was surefooted and mostly clean and clear. The second movement was especially wonderful, as the phrasing by the individual players transcended the mechanical surface of the music. The fleet scampering flute, the pompous chugging of the bassoon, the tidy little phrases from the clarinet, and the gentle string interludes were all a pure delight to hear.

For the Schubert, Zeitouni adopted an unusual set-up, with the woodwinds front and center. Perhaps not strictly necessary for them to be heard, it did point up the importance of their parts in Schubert’s score.

I have heard this symphony played with a smaller string section, which gives greater muscularity to the winds and gives a more incisive early-, early-Romantic sound to the orchestra. Zeitouni opted for a more traditional full orchestral sound.

Schubert’s predecessors were apparent throughout the symphony. The lovely, graceful slow movement has more than a touch of Mozart. The bumptious Menuetto shows that Schubert had been listening to Beethoven, especially in contrast with a trio section that is pure Schubertian lyricism. And the finale is Haydn translated through Schubert’s personal sensibility.

These elements came thorough in Zeitouni’s careful interpretation. The weight of the strings, especially the lower parts, took a little—but only a little—from the sparkle of the performance.

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Olga Kern, pianist, photographed by Chris Lee at Steinway Hall.

With his grand sense of musical drama, Beethoven gives the “Emperor” Concerto soloist the opportunity to state “Here I am!” at the very outset. This Kern did, and her performance went from strength to strength thereafter, even covering the orchestra at one point.

After a strong, muscular, well defined opening movement, Kern and Zeitouni achieved a beautifully calibrated tenderness in the slow movement. The finale was even more invigorating than usual, with the orchestra punching out the returning rondo theme with great power and well placed accents, and Kern matching them punch for punch.

This is music from Beethoven’s so-called “Heroic” period, calculated for maximum impact, and it makes a great way to end a concert or a season. The audience stood and cheered, energized by a performance that was worthy of their approbation.

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Julian Wachner

Composer Julian Wachner

Before the concert, CMF Board president Ted Lupberger announced the winner of the 2017 “Click” Commission: Julian Wachner. One of the most innovative commissioning programs in the country, the “Click” Commission was inaugurated under former music director Michael Christie. Every summer, patrons are allowed to vote for one of three nominated composers by donating money for the commission; the composer who attracts the largest number of votes wins the commission and writes a short orchestral piece for the next summer’s festival.

Very busy as a conductor and keyboard artist, Wachner has had engagements with the Lincoln Center Festival, BAM Next Wave Festival, the Juilliard Opera Theater, New York City Opera, Hong Kong Philharmonic—and to keep things real, the 50th anniversary tour of the Rolling Stones. The Boston Globe described his music as “jazzy, energetic, and ingenious.” I look forward to hearing his work as part of the 2017 CMF.

Fresh, re-imagined Baby Doe opens Central City Opera season

“A performance worthy of the company’s history”

By Peter Alexander

Central City Opera | The Ballad of Baby Doe | www.amandatipton.com

Central City Opera | The Ballad of Baby Doe | Photo credit: Amanda Tipton

Central City Opera has a fresh and imaginative remake of a old friend this summer.

Their 60th-anniversary production of Douglas Moore’s The Ballad of Baby Doe—CCO’s signature piece, which the company premiered July 7, 1956—opened in the historic Central City Opera House July 9. The production, which continues in repertory through Aug. 6, features a uniformly strong cast and chorus, creative use of projections by designer David Martin Jacques, and inspired work by stage director Ken Cazan.

The orchestra, under conductor Timothy Myers, gave a nuanced and supportive performance, responding well to the many moods and styles of Americana in Moore’s effective score. The result was a performance worthy of the company’s great history with this opera.

Read more in Boulder Weekly.