Colorado Symphony hosts 2nd Annual Donor Appreciation Concert

By -

Community of Symphony supporters enjoy sneak preview of 2011/12 season, including selections from Mussorgsky's Dawn on the Moskva River, Rossini's Overture to The Barber of Seville and Mozart's Symphony No. 40

Tickets:
BY INVITATION ONLY. TICKETS ARE REQUIRED.
All Colorado Symphony donors at the $75 level and higher were mailed printed invitations. Tickets are limited to two non-transferable tickets per donor household. Donors may request their ticket(s) by calling the Colorado Symphony Box Office at 303.623.7876 or emailing tickets@coloradosymphony.org. Space is limited. Seating is general admission and on a first-come, first-served basis, subject to availability.

Colorado Symphony donors and special guests will enjoy an exclusive sneak preview of the upcoming 2011/12 season at the Symphony's second annual Donor Appreciation Concert on Wednesday, September 14. A gathering for the community of people whose support makes Colorado Symphony concerts and programs possible, the Donor Appreciation Concert features selections from several of the beautiful works showcased in the 2011/12 Masterworks series, plus a few exquisite surprises. From Rossini's The Barber of Seville to Mozart's Symphony No. 40 in G minor, the concert program sparkles with many of the orchestral gems that concertgoers will look forward to in the coming season.

Led by resident conductor Scott O'Neil, the event is a meaningful way for the Colorado Symphony to say "thank you" to donors, community leaders and music lovers whose support sustains the non-profit organization on a yearly basis. Concert planners, who hope to double attendance numbers in the event's second year, will open the doors for seating at 5:30 p.m., with the concert beginning at 6:30 p.m. Tickets are required for this "by invitation only" event.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In ...
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more