zachary Carrettin

artistic & executive director

photo credit: Courtney Huffman

Zachary Carrettin has performed as solo violinist, baroque violinist, electric violinist, violist, cellist da spalla (shoulder cello), orchestral conductor, and choral conductor, in more than twenty-five countries on four continents, and has established a reputation for presenting dynamic and diverse programs which feature repertory from the seventeenth to the twenty-first centuries.

 

He has collaborated with the Tokyo Quartet, the Assad Brothers, the American Bach Soloists, Philharmonia Baroque Orchestra, and performed at the opening ceremonies of the Mondavi Center for the Performing Arts, the Dayton Center for the Performing Arts, and the San Luis Obispo Mozart Festival. He has been featured at the Wolf Trap Center for the Performing Arts, the San Francisco War Memorial Opera House, at the Stavanger Festival (Norway), and in a private concert for the Sultan and Royal Family of Oman, in Muscat.


Carrettin has served as guest concertmaster and soloist with numerous baroque period instrument ensembles, including the U.S. premiere of Vivaldi’s recently rediscovered opera Montezuma, (Musica Angelica and Long Beach Opera), the Grammy-nominated recording of Hasse’s Marc’ Antonio e Cleopatra, (Ars Lyrica Houston), critically-acclaimed recording of baroque music from the New World, Villancicos e Cantidas, (El Mundo) and a tour of the California mission churches with renowned choir, Chanticleer. He has conducted orchestras in the United States, Germany, the Czech Republic, Romania, and the National Symphony Orchestras of Moldova and Bolivia. Additionally, he conducted the first known performance of Giuseppe Antonio Capuzzi’s ballet music at the Rice University Capuzzi Festival 2005, and conducted the first recording of Bolivian composer Gustavo Navarre’s Sinfonía. Carrettin has resurrected and recorded numerous eighteenth-century works in manuscript during several research trips to archives in Bergamo, Milan and Venice.

 

An advocate of diversity in music, Carrettin toured one-hundred cities with Yanni and shared the stage with Ray Charles, the Black Crowes, Cake, Joan Jett and many others at festivals internationally, as electric violin soloist with Project Bandaloop aerial dance troupe. His original music and recordings have been heard on Late Night with David Letterman, at the Kennedy Center, on CBS Sunday Morning, 60 Minutes, and PBS. 

 

Carrettin holds degrees from Rice University Shepherd School of Music and the University of Illinois at Urbana-Champaign, and has served on the faculty at University of St. Thomas, Sam Houston State University, and the University of Colorado-Boulder.

 

2017-2018 endeavors include performing Vivaldi’s Le Quattro Stagioni with the Champaign-Urbana Symphony Orchestra, the Mendelssohn Double Concerto with pianist Mina Gajić and the Boulder Chamber Orchestra, conducting Händel’s opera Ariodante at the University of Colorado-Boulder, performing at the Connecticut Early Music Festival, and recording unaccompanied works by J.S. Bach on the cello da spalla. He is currently Artistic Director of the Boulder Bach Festival, (celebrating its 37th season), and this year will conduct and collaborate in a full season of programs exploring music from pre-Bach Venetians and J.S. Bach cantatas, to chamber music of Berg, Enescu, and Bartók, performed on historical instruments.

 

"noble … revelatory … an overwhelming experience" -Daily Camera

 

“every musician on stage …was inspired ... an amazing range and depth of mood which was absolutely exhilarating."–Opus Colorado 

 

 “This may have been the most complete realization of the B-minor Mass I have heard.”  "Creative, provocative, and sensational … It is this kind of creative rethinking that keeps the great masterpieces alive in our times."   -Sharps and Flatirons

 

“Carrettin rendered the famous Chaconne for solo violin in a spellbinding interpretation that was fresh and adventurous, including some improvisation but never becoming indulgent.” -Daily Camera

 

“The Preludio was played freely, as though improvised, while the fuga was unusually delicate.” -New York Times

 

“His tone was incredible and his sense of phrasing and voicing would surely have pleased Bach.” -Opus Colorado