The Colorado Symphony Presents Messiah by Candlelight

By -

For the first time this holiday season, the Colorado Symphony presents Messiah by Candlelight – Handel's sacred masterpiece performed in the intimate setting of Montview Boulevard Presbyterian Church. The orchestra, led by associate conductor Scott O'Neil, the Colorado Symphony Chorus and celebrated guest soloists unite for an uplifting performance that captures the dramatic intensity, sensitivity and undeniable emotional appeal of Handel's Messiah. The Colorado Symphony welcomes four critically-acclaimed guest soloists – soprano Yulia Van Doren, mezzo soprano Jamie Van Eyck, tenor March Molomot and baritone Robert Gardner – for candlelit performances on Wednesday, December 15 at 7:30 p.m. and Sunday, December 19 at 5:30 p.m.

A traditional December event around the world, Handel's Messiah is synonymous with Christmas music. Composed in 1741 in less than three weeks, Messiah became Handel's most beloved and consistently popular masterwork. A crown jewel of the holiday repertoire, Messiah represents, for many, a deeply loved annual tradition to share with friends and family. From the thrills of the "Hallelujah Chorus" to the exquisiteness of the soprano aria "I know that my Redeemer liveth," Messiah is replete with joyful sincerity. This year, the Colorado Symphony performs this brilliant, inspiring choral favorite in a traditional setting that will truly highlight its brilliantly moving lyrical work and rich vocal arrangements. Messiah by Candlelight will undoubtedly bring audiences to their feet!

Tickets: Tickets are $65 and $85, and are on sale now at www.coloradosymphony.org, the Colorado Symphony Box Office: (303) 623-7876 or (877) 292-7979 or in-person in the lobby of Boettcher Concert Hall in the Denver Performing Arts Complex.

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 &quo
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

The Art of String Quartets by Brian Ferneyhough

By -
Image
When an artist sets paint to canvas, there are brush strokes used for different effects. Sometimes those strokes are subtle, imperceptible; they produce works of art like the Mona Lisa . Other times the very obvious nature of the stroke is the art, as in works by Van Gogh. With some composers of music, the notes on the page are their craft. How those notes translate into an aural experience is what defines some composers as great artists. Brian Ferneyhough has a masterful command of the techniques of putting notes on the page. These techniques are sometimes so subtle, even though written in black and white, they escape detection. Some of what he attempts with his music is just that, to escape detection, to bury the framework, diverting the ear away from the structure, so only the music is heard . The subtlety is so fine it is almost imperceptible. Even though he studied at several institutions, he is considered self-taught, studying scores from Boule
Read more