About Music of Flight: The Falcon
The Music of Flight : The Falcon is a short, humorous two-person play by Josh Hartwell for ages 8+. Combined with live music about birds by composers Rameau, Haydn and Maria Newman and performed by the Colorado Chamber Players, The Music of Flight is directed by Betty Hart (DCPA, Aurora Fox, Local Theatre, Town Hall credits)
Darlene--a child with a vivid imagination- conjures up a friendship with her favorite winged comic book superhero, the Falcon. Darlene takes on several make-believe characters, and helps her superhero connect with a strong identity and sense of belonging. Superheroes inspire us to cope with adversity, and to find compassion, humanity and power.
Starring Ronald McQueen as the Falcon, with Michaela Murray as Darlene; Colorado Chamber Players members are Paul Primus, Violin; Barbara Hamilton, Viola; Sarah Biber, Cello; Paul Nagem, Flute.
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."