Program - A Classical Romance

CLASSICS

2018/19

2018/19 SEASON PRESENTING SPONSORS:

A CLASSICAL ROMANCE COLORADO SYMPHONY BRETT MITCHELL, conductor KELLEY O’CONNOR, mezzo-soprano Thursday, February 14, 2019, at 7:30 p.m.

Saturday, February 16, 2019, at 7:30 p.m.

Sunday, February 17, 2019, at 1:00 p.m.

Boettcher Concert Hall

HERRMANN

“Scène d’Amour” from Vertigo

LIEBERSON Neruda Songs for Mezzo-Soprano and Orchestra Si no fuera porque tus ojos tienen color de luna (“If your eyes were not the color of the moon”) Amor, amor, las nubes a la torre del cielo (“Love, love, the clouds went up the tower of the sky”) No estés lejos de mí un solo día, porque cómo (“Don’t go far off, not even for a day, because …”)

Ya eres mía. Reposa con tu sueño en mi sueño (“And now you’re mine. Rest with your dream in my dream”) Amor mío, si muero y tú no mueres (“My love, if I die and you don’t …“) — INTERMISSION — continued next page

Saturday’s Concert is Gratefully Dedicated to Judy and Alan Wigod in Memory of Lisa Gayle Wigod

PROUDLY SUPPORTED BY

SOUNDINGS

2018/19

PROGRAM 1

CLASSICS

2018/19

DIAMOND Music for Shakespeare’s Romeo and Juliet Overture: Allegro maestoso Balcony Scene: Andante semplice Romeo and Friar Laurence: Andante Juliet and Her Nurse: Allegretto scherzando The Death of Romeo and Juliet: Adagio sospirando

BERNSTEIN Symphonic Dances from West Side Story Prologue — Somewhere — Scherzo — Mambo — Cha-Cha — Meeting Scene — “Cool” Fugue — Rumble — Finale

PROGRAM 2

C O L O R A D O SY M P H O N Y.O R G

CLASSICS BIOGRAPHIES PHOTO: ROGER MASTROIANNI

BRETT MITCHELL, conductor Hailed for presenting engaging, in-depth explorations of thoughtfully curated programs, Brett Mitchell began his tenure as Music Director of the Colorado Symphony in July 2017. Prior to this appointment, he served as the orchestra’s Music Director Designate during the 2016/17 season. He leads the orchestra in ten classical subscription weeks per season as well as a wide variety special programs featuring such guest artists as Renée Fleming, Yo-Yo Ma, and Itzhak Perlman.

Mitchell is also in consistent demand as a guest conductor. Highlights of his 2018/19 season include subscription debuts with the Minnesota Orchestra and Vancouver Symphony Orchestra, and return appearances with the orchestras of Cleveland, Dallas, and Indianapolis. Other upcoming and recent guest engagements include the Detroit, Houston, Milwaukee, National, Oregon, and San Antonio symphonies, the Grant Park Festival Orchestra, the Rochester Philharmonic, the Saint Paul Chamber Orchestra, and the New Zealand Symphony Orchestra.

Mitchell also regularly collaborates with the world’s leading soloists, including Yo-Yo Ma, Renée Fleming, Rudolf Buchbinder, Kirill Gerstein, James Ehnes, Augustin Hadelich, Leila Josefowicz, and Alisa Weilerstein.

From 2013 to 2017, Mitchell served on the conducting staff of The Cleveland Orchestra. He joined the orchestra as Assistant Conductor in 2013, and was promoted to Associate Conductor in 2015, becoming the first person to hold that title in over three decades and only the fifth in the orchestra’s hundred-year history. In these roles, he led the orchestra in several dozen concerts each season at Severance Hall, Blossom Music Center, and on tour.

From 2007 to 2011, Mitchell led over one hundred performances as Assistant Conductor of the Houston Symphony. He also held Assistant Conductor posts with the Orchestre National de France, where he worked under Kurt Masur from 2006 to 2009, and the Castleton Festival, where he worked under Lorin Maazel in 2009 and 2010. In 2015, Mitchell completed a highly successful five-year appointment as Music Director of the Saginaw Bay Symphony Orchestra.

As an opera conductor, Mitchell has served as music director of nearly a dozen productions, principally at his former post as Music Director of the Moores Opera Center in Houston, where he led eight productions from 2010 to 2013. His repertoire spans the core works of Mozart (The Marriage of Figaro and The Magic Flute), Verdi (Rigoletto and Falstaff), and Stravinsky (The Rake’s Progress) to contemporary works by Adamo (Little Women), Aldridge (Elmer Gantry), Catán (Il Postino and Salsipuedes), and Hagen (Amelia). As a ballet conductor, Mitchell most recently led a production of The Nutcracker with the Pennsylvania Ballet in collaboration with The Cleveland Orchestra during the 2016/17 season.

In addition to his work with professional orchestras, Mitchell is also well known for his affinity for working with and mentoring young musicians aspiring to be professional orchestral players.

His tenure as Music Director of the Cleveland Orchestra Youth Orchestra from 2013 to 2017

SOUNDINGS

2018/19

PROGRAM 3

CLASSICS BIOGRAPHIES was highly praised, and included a four-city tour of China in June 2015, marking the orchestra’s second international tour and its first to Asia. Mitchell is regularly invited to work with the highly talented musicians at the Cleveland Institute of Music and the orchestras at this country’s highlevel training programs, such as the National Repertory Orchestra, Texas Music Festival, Sarasota Music Festival, and Interlochen Center for the Arts.

Born in Seattle in 1979, Mitchell holds degrees in conducting from the University of Texas at Austin and composition from Western Washington University, which selected him as its Young Alumnus of the Year in 2014. He also studied at the National Conducting Institute, and was selected by Kurt Masur as a recipient of the inaugural American Friends of the Mendelssohn Foundation Scholarship. Mitchell was also one of five recipients of the League of American Orchestras’ American Conducting Fellowship from 2007 to 2010.

For more information, please visit www.brettmitchellconductor.com

KRISTINA CHOE-JACINTH

KELLEY O’CONNOR, mezzo-soprano Possessing a voice of uncommon allure, musical sophistication far beyond her years, and intuitive and innate dramatic artistry, the GRAMMY® Awardwinning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation. During the 2018/19 season, the artist’s impressive symphonic calendar features Mahler’s Second Symphony with Andrés Orozco-Estrada and the Houston Symphony, his Third Symphony with Donald Runnicles and the Grand Teton Music Festival Orchestra, Michael Stern and the Kansas City Symphony Orchestra, and with Andrés Orozco-Estrada and the Chicago Symphony Orchestra, and Das Lied von der Erde both with the Dallas Symphony Orchestra and BBC Scottish Symphony Orchestra. Sought after by many of the most heralded composers of the modern day, O’Connor gives the world premiere of Joby Talbot’s A Sheen of Dew on Flowers with the Britten Sinfonia at the Victoria & Albert Museum to celebrate the opening of the institution’s new jewellery wing, debuts with the Orchestra dell’Accademia Nazionale di Santa Cecilia in the title role of John Adams’ The Gospel According to the Other Mary under the baton of the composer, presents the west coast premiere of Bryce Dessner’s Voy a Dormir with the Los Angeles Chamber Orchestra led by Jaime Martín, and brings Peter Lieberson’s Neruda Songs to life in performance in St. Louis and Colorado. O’Connor returns to the Los Angeles Philharmonic for a Stravinsky Festival singing multiple works there under the direction of Esa-Pekka Salonen and she assays the title role of Britten’s The Rape of Lucretia presented by Boston Lyric Opera in a new production by Broadway theater director Sarna Lapine conducted by David Angus.

PROGRAM 4

C O L O R A D O SY M P H O N Y.O R G

CLASSICS PROGRAM NOTES BERNARD HERRMANN (1911-1975): Prelude and “Scène d’Amour” from Vertigo Bernard Herrmann was born June 29, 1911 in New York City and died December 24, 1975 in Los Angeles. He composed the music for Alfred Hitchcock’s Vertigo in 1958. The score calls for three flutes, two oboes, English horn, three clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, celesta, and strings. Duration is about 10 minutes.

The last performance by the orchestra was November 6-7, 1998, conducted by John Mauceri.

Bernard Herrmann, born in New York in 1911, graduated from NYU and made his debut as composer and conductor on Broadway with his score for a ballet scene in the 1932 show Americana. Two years later, he was appointed to the musical staff of CBS, where he was responsible for providing background music for several radio series, including Orson Welles’ The Mercury Theatre on the Air. (Herrmann was a collaborator on the famous 1938 War of the Worlds broadcast that panicked the nation.) When Welles moved to Hollywood to produce Citizen Kane, he took along Herrmann as his composer. The music Herrmann provided for that epochal movie became the touchstone of his work in Hollywood, and a paragon of the symphonic score precisely integrated into the drama on the screen; it was nominated for an OSCAR®. For the next quarter century, Herrmann was one of the busiest composers in Hollywood, creating his most outstanding work for the medium with Alfred Hitchcock’s The Trouble with Harry, The Man Who Knew Too Much, The Wrong Man, Vertigo, North by Northwest, Psycho and Marnie.

Hitchcock’s masterful psychological thriller Vertigo (1958) concerns Scottie Ferguson (played by James Stewart), a San Francisco police detective who has been forced into early retirement because a rooftop chase that resulted in the death of another office has caused him to suffer from extreme fear of heights. The climax of the plot finds Scottie at the top of the bell tower of a mission church trying to prevent what he thinks will be the tempted suicide of the woman (Kim Novak) he has come to love during the case. The Prelude, with its portentous mood, fragmented melody and obsessively repeating figures, provides the musical gateway for this gripping tale. The Scène d’Amour accompanies the lovers’ first embrace.



PETER LIEBERSON (1946-2011): Neruda Songs for Mezzo-Soprano and Orchestra Peter Lieberson was born October 25, 1946 in New York City and died April 23, 2011 in Tel Aviv, Israel.

The Neruda Songs, composed in 2005, were premiered on May 20, 2005 in Los Angeles, conducted

by Esa-Pekka Salonen with Lorraine Hunt Lieberson as soloist. The score calls for piccolo, two flutes, oboe, English horn, two clarinets, bass clarinet, two bassoons, two horns, two trumpets, percussion, harp, piano, and strings. Duration is about 32 minutes. The last performance of Neruda Songs took place January 15-17, 2010. Jeffrey Kahane conducted the orchestra, and Kelley O’Connor was the mezzo soprano.

Peter Lieberson, born in New York City in 1946, was the son of composer, music critic, and Columbia Records executive Goddard Lieberson and Vera Zorina, a famed ballerina with the Ballets Russes de Monte Carlo (her first husband was George Balanchine) and later a specialist in spoken concert narration. Peter early showed a pronounced talent for music, but he took his undergraduate degree in English literature from New York University before turning to formal SOUNDINGS

2018/19

PROGRAM 5

CLASSICS PROGRAM NOTES music study, first privately with Milton Babbitt and then at Columbia with Charles Wuorinen. In 1972, Lieberson became an assistant to Leonard Bernstein and an assistant producer of the CBS Young People’s Concerts. In 1976, Lieberson encountered Tibetan Vajrayana Buddhism, which he studied in Boulder, Colorado for the next five years, becoming advanced enough in its practice by 1981 to move to Boston to direct Shambhala Training, a meditation and cultural program.

During that period, he also completed his doctoral studies at Brandeis. Lieberson taught at Harvard from 1984 to 1988, after which he lived in Halifax, Nova Scotia, where he served as international director of Shambhala Training while also pursuing his career as a composer. He moved to Santa Fe in 1998. In 2006 he was diagnosed with lymphoma, and died on April 23, 2011 while receiving medical treatment in Tel Aviv. Lieberson’s distinctions included an award from the National Institute of Arts and Letters, Grawemeyer Award from the University of Louisville, Brandeis Creative Arts Award, and induction into the American Academy of Arts and Letters.

Lieberson first met the American mezzo-soprano Lorraine Hunt during rehearsals for his opera Ashoka’s Dream in Santa Fe in July 1997. He was struck not just by the way she projected what he called “the power of the melodic line” but also that she was “so unafraid of her emotions, so able to access and express those emotions. There was no artifice.” Professional respect quickly blossomed into love, and they were married in April 1999. Lieberson first wrote for his wife two years later — settings of five poems by Rilke — and when he was offered a joint commission by the Los Angeles Philharmonic and Boston Symphony in 2003, he chose to fulfill it with another song cycle for Lorraine, this one based on poems from the 100 Love Sonnets (1960) by the Nobel Prize-winning Chilean poet Pablo Neruda. In 2005, just as the Neruda Songs were nearing completion, Lorraine was diagnosed with cancer, but she was able to premiere the work in Los Angeles in May and perform it again in Boston (where it was recorded live with James Levine

by Nonesuch) and Cleveland before she died in July 2006; she was 52. The recording of the Neruda Songs won a 2007 Grammy Award, and the work received the following year’s coveted Grawemeyer Award.

Lieberson wrote, “Each of the five poems I set to music seemed to me to reflect a different face in love’s mirror. The first poem, If your eyes were not the color of the moon, is pure appreciation of the beloved. The second, Love, love, the clouds went up the tower of the sky like triumphant washerwomen, is joyful and also mysterious in its evocation of nature’s elements: fire, water, wind, and luminous space. The third poem, Don’t go far off, not even for a day, reflects the anguish of love, the fear and pain of separation. The fourth poem, And now you’re mine. Rest with your dream in my dream, is complex in its emotional tone. First there is the exultance of passion.

Then, gentle, soothing words lead the beloved into the world of rest, sleep, and dream. Finally, the fifth poem, My love, if I die and you don’t, is very sad and peaceful at the same time. There is the recognition that no matter how blessed one is with love, there will be a time when we must part from those whom we cherish. Still, Neruda reminds one that love has not ended. In truth there is no real death to love nor even a birth: ‘It is like a long river, only changing lands, and changing lips.’”

PROGRAM 6

C O L O R A D O SY M P H O N Y.O R G

CLASSICS PROGRAM NOTES Lieberson: Neruda Songs VIII Si no fuera porque tus ojos tienen If your eyes were not the color of the moon, color de luna, de día con arcilla, con trabajo, con fuego, of a day full of clay, and work, and fire, y aprisionada tienes la agilidad del aire, if even held in you did not move in agile grace like the air, si no fuera porque eres una semana if you were not an amber week, de ámbar, si no fuera porque eres el momento Amarillo not the yellow moment en que el otoño sube por las enredaderas when autumn climbs up through the vines; y eres aún el pan que la luna fragante if you were not that bread the fragrant moon kneads, elabora paseando su harina por el cielo, sprinkling its flour across the sky, oh, bienamada, yo no te amaría!

En tu abrazo yo abrazo lo que existe, la arena, el tiempo, el árbol de la lluvia,

oh, my dearest, I could not love you so!

But when I hold you I hold everything that is — sand, time, the tree of the rain,

y todo vive para que yo viva: sin ir tan lejos puedo verb todo: veo en tu vida todo lo viviente.

everything is alive so that I can be alive: without moving lean see it all: in your life I see everything that lives.

XXIV Amor, amor, las nubes a la torre del cielo Love, love, the clouds went up the tower of the sky subieron como triunfantes lavanderas, like triumphant washerwomen, and it all y todo ardió en azul, todo fue estrella: glowed in blue, all like a single star, el mar, la nave, el día se desterraron juntos. the sea, the ship, the day were all exiled together.

Ven a ver los cerezos del agua constelada Come see the cherries of the water in the weather, y la cave redonda del rápido universo, the round key to the universe, which is so quick: ven a tocar el fuego del azul instantáneo, come touch the fire of this momentary blue, ven antes de que sus pétalos se consuman. before its petals wither.

No hay aquí sino iuz, cantidades, racimos, There’s nothing here but light, quantities, clusters, espacio abierto por las virtudes del viento space opened by the graces of the wind hasta entregar los últimos secretos till it gives up the final secret of the foam. de la espuma.

SOUNDINGS

2018/19

PROGRAM 7

CLASSICS PROGRAM NOTES Y entre tantos azules celestes, sumergidos, Among so many blues — heavenly blues, sunken blues — se pierden nuestros ojos adivinando a penas our eyes are a little confused: they can hardly divine los poderes del aire, las llaves submarinas. the powers of the air, the keys to the secrets in the sea.

XLV No estés lejos de mí un solo día, Don’t go far off, not even for a day, porque cómo, because … porque, no sé decirlo, es largo el día, because … I don’t know how to say it: a day is long y te estaré esperando como and I will be waiting for you, as in en las estaciones an empty station cuando en alguna parte se durmieron when the trains are parked off somewhere else, los trenes. asleep.

No te vayas por una hora porque entonces Don’t leave me, even for an hour, because en esa hora se juntan las gotas del desvelo then the little drops of anguish will all run together, y tal vez todo el humo que anda the smoke that roams looking for a home buscando casa will drift venga a matar aún mi corazón perdido. into me, choking my lost heart.

Ay que no se quebrante tu silueta Oh, may your silhouette never dissolve en la arena, on the beach; ay que no vuelen tus párpados may your eyelids never flutter into en la ausencia: the empty distance. no te vayas por un minuto, bienamada, Don’t leave me for a second, my dearest, porque en ese minuto te habrás ido tan lejos because in that moment you’ll have gone so far que yo cruzaré toda la tierra preguntando I’ll wander mazily over all the earth, asking, si volverás o si me dejarás muriendo.

Will you come back? Will you leave me here, dying?

LXXXI Ya eres mía. Reposa con tu sueño And now you’re mine. Rest with your dream en mi sueño. in my dream.

Amor, dolor, trabajos, deben dormir ahora.

Love and pain and work should all sleep, now.

Gira la noche sobre sus invisibles ruedas The night turns on its invisible wheels, y junto a mí eres pura como and you are pure beside me el ámbar dormido. as a sleeping amber.

PROGRAM 8

C O L O R A D O SY M P H O N Y.O R G

CLASSICS PROGRAM NOTES Ninguna más, amor, dormirá No one else, Love, will sleep in my dreams. con mis sueños. You will go, Irás, iremos juntos par las aguas del tiempo. we will go together, over the waters of time.

Ninguna viajará por la sombra conmigo, No one else will travel through the shadows with me, sólo tú, siempreviva, siempre sol, only you, evergreen, ever sun, ever moon. siempre luna.

Ya tus manos abrieron los puños delicados Your hands have already opened their delicate fists y dejaron caer suaves signos sin rumbo, and let their soft drifting signs drop away; tus ojos se cerraron como dos alas grises, your eyes closed like two gray wings, and I move mientras yo sigo el agua que llevas after, following the folding water you carry, y me lleva that carries la noche, el mundo, el viento devanan me away. The night, the world, the wind su destino, spin out their destiny. y ya no soy sin ti sino sólo tu sueño.

Without you, I am your dream, only that, and that is all.

XCII Amor mío, si muero y tú no mueres, My love, if I die and you don’t … amor mío, si mueres y no muero, My love, if you die and I don’t … no demos al dolor más territorio: let’s not give grief an even greater field. no hay extensión como la que vivimos.

No expanse is greater than where we live.

Polvo en el trigo, arena en las arenas el tiempo, el agua errante, el viento vago nos llevó como grano navegante.

Pudimos no encontrarnos en el tiempo.

Dust in the wheat, sand in the deserts, time, wandering water, the vague wind swept us on like sailing seeds.

We might not have found one another in time.

Esta pradera en que nos encontramos, oh pequeño infinito! devolvemos.

Pero este amor, amor, no ha terminado,

This meadow where we find ourselves, O little infinity! we give it back.

But Love, this love has not ended:

y así como no tuvo nacimiento no tiene muerte, es como un largo río, sólo cambia de tierras y de labios.

just as it never had a birth, it has no death: it is like a long river, only changing lands, and changing lips.

 SOUNDINGS

2018/19

PROGRAM 9

CLASSICS PROGRAM NOTES DAVID DIAMOND (1915-2005): Music for Shakespeare’s Romeo and Juliet David Diamond was born July 9, 1915 in Rochester, New York and died there June 13, 2005. His Music for Romeo and Juliet was composed in 1947 and premiered on October 20, 1947 in New York City by the Little Orchestral Society, conducted by Thomas Scherman. The score calls for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, two horns, two trumpets, trombone, timpani, percussion, harp, and strings. Duration is about 24 minutes. This is the first performance by the orchestra.

David Diamond, born in Rochester, New York in 1915, began “composing” as a small boy in a notation of his own invention. Financial difficulties in 1927 forced the family to live with relatives in Cleveland, where David received his first musical training at the Cleveland Institute of Music. The family returned to Rochester in 1929, and in 1933 he entered the Eastman School of Music, but a year later he moved to New York City, where he supported himself with odd jobs while studying at the New Music School Institute. In 1935, Diamond’s Sinfonietta won the $2,500 first prize in a competition sponsored by bandleader Paul Whiteman; George Gershwin was one of the judges. He continued his studies in Paris with Nadia Boulanger, meeting and receiving inspiration from Stravinsky, Ravel, Roussel, Charles Munch, and André Gide during his stay.

With the outbreak of World War II, he returned to the United States, composing steadily during those years and receiving important commissions, performances, and awards. He returned to Europe on a Fulbright Fellowship in 1951, and settled in Florence for the next fourteen years.

After attending a concert of his music in honor of his fiftieth birthday at the Aspen Festival in Colorado in 1965, Diamond remained in this country, teaching at the Manhattan School of Music for two years before moving to Rochester to devote himself entirely to composition until 1973, when he joined the faculty of the Juilliard School. He was elected to the National Institute of Arts and Letters in 1966, and appointed its vice-president in 1974. In 1995, he was awarded the National Medal of Arts at a ceremony held at the White House. He died in Rochester on June 13, 2005.

Diamond composed his Music for Shakespeare’s “Romeo and Juliet” not as incidental music for the theater but as a concert suite for the inaugural program of the Little Orchestral Society on October 20, 1947 in New York. Diamond said that in this music he attempted “to convey as fully and yet as economically as possible the innate beauty and pathos of Shakespeare’s great drama without resorting to a large orchestral canvas and a definite musical form.” The five movements capture focal points in the tragedy and depict the story’s main protagonists: Overture, Balcony Scene, Romeo and Friar Laurence, Juliet and Her Nurse, and The Death of Romeo and Juliet. In 1951, Diamond was asked to use his suite for a production of the play on Broadway starring Olivia de Havilland, but he refused the producers’ request to alter the score and instead wrote completely new incidental music.

 PROGRAM 10

C O L O R A D O SY M P H O N Y.O R G

CLASSICS PROGRAM NOTES LEONARD BERNSTEIN (1918-1990): Symphonic Dances from West Side Story Leonard Bernstein was born August 25, 1918 in Lawrence, Massachusetts and died October 14, 1990 in New York City. West Side Story was composed in 1957 and opened on Broadway on September 26, 1957, conducted by Max Goberman; the Symphonic Dances were premiered in concert on February 13, 1961 in New York, conducted by Lukas Foss. The score calls for piccolo, two flutes, two oboes, English horn, E-flat clarinet, two B-flat clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, celesta, and strings.

Duration is about 21 minutes. The last performance by the orchestra was conducted by Christopher Dragon, March 18-20, 2016.

West Side Story was one of the first musicals to explore a serious subject with wide social implications. More than just the story of the tragic lives of ordinary people in a grubby section of New York, it was concerned with urban violence, juvenile delinquency, clan hatred, and young love. The show was criticized as harshly realistic by some who advocated an entirely escapist function for the musical, depicting things that were not appropriately shown on the Broadway stage. Most, however, recognized that it expanded the scope of the musical through references both to classical literature (Romeo and Juliet) and to the pressing problems of modern society.

Brooks Atkinson, former theater critic for The New York Times, noted in his book Broadway that West Side Story was “a harsh ballad of the city, taut, nervous and flaring, the melodies choked apprehensively, the rhythms wild, swift and deadly.” Much of the show’s electric atmosphere was generated by its brilliant dance sequences, for which Jerome Robbins won the 1958 Tony Award® for choreography. In 1961, Bernstein chose a sequence of dance music from West Side Story to assemble as a concert work, and Sid Ramin and Irwin Kostal executed the orchestration of these “Symphonic Dances” under the composer’s direction. Bernstein said that he called these excerpts “symphonic” not because they were arranged for full orchestra but because many of them grew, like a classical symphony, from a few basic themes transformed into a variety of moods to fit the play’s action and emotions. ©2019 Dr. Richard E. Rodda

SOUNDINGS

2 0 1 8 / 1 9 PROGRAM 11

REMIX YOUR SYMPHONY EXPERIENCE REMIX members attend happy hours around town, Colorado Symphony concerts, and exclusive events to support the Symphony.

NEW EVENTS AND SOCIAL HOURS — all year long! Check

HAPPY HOURS

RemixColorado

PRIVATE LECTURES AND PARTIES

BEHIND-THE-SCENES EVENTS

COLORADOSYMPHONY.ORG/REMIX