About The Spirit and The Maiden: Helios Trio
The dynamic and exciting Helios Piano Trio performs a wonderful program with piano trios by Elena Kats-Chernin, Felix Mendelssohn and Maurice Ravel. John Fadial, Violin and Beth Vanderborgh, Cello (both members of the Colorado Chamber Players) perform with Chi-Chen Wu, Piano. The Helios Piano Trio is a dynamic ensemble comprised of artist faculty from the University of Wyoming. Their rich and diverse backgrounds as performers combine to produce probing and passionate interpretations of the great piano trio repertoire that have garnered international acclaim. Helios recently presented educational concerts as Ensemble in Residence for the Music for a Great Space series in North Carolina, at the Omaha Conservatory, and at the 2018 International Debussy Centennial Conference in Oviedo, Spain.
Colorado Chamber Players
Named one of the top five chamber groups in Colorado by the Denver Post, the Colorado Chamber Players celebrates its 29th Season in 2022-2023. The CCP’s 29th Season will be presented in both a live and virtual format.
The ensemble has received numerous awards, including the prestigious Chamber Music America Residency Awards (2000 and 2008). The CCP has received awards from the Argosy Foundation, Denver Mayor's Fund, Colorado Creative Industries, National Endowment for the Arts, National Endowment for the Humanities, Energize Colorado, Xcel Energy Foundation, and the Scientific and Cultural Facilities District (SCFD).
The CCP has a core of string quartet, double bass, piano, harp, clarinet and flute. Favorite guest artists have included cellists Lynn Harrell and David Geber, clarinetist Derek Bermel, guitarist Sharon Isbin, violists Jesse Levine, Patricia McCarty and Roger Tapping, and pianist Jeffrey Kahane.
Critic Marc Shulgold wrote of a performance with Lynn Harrell in 2018 (from thescen3.org):
"From the hushed opening chords, growing majestically out of silence, the ensemble played as if with a single voice, the two cellos and then two violins soaring exquisitely through the First Movement’s unforgettable theme. The gorgeous Adagio unfolded with a wisely chosen tempo – not too fast, but just slow enough to maintain momentum and keep our focus on the subtly emerging melody. The final two movements bubbled with confidence, each of the numerous transitions managed with solid control. No surprise that the audience, clearly engaged in Schubert’s heavenly music, barely made a peep during the performance."