Ravinia 2022, Issue 2

KYLE DUNLEAVY (WITH GALWAYS); ARI SLOSS (NORTHWESTERN) Above, Left: Following their summers at RSMI, Ouzounian, Kozasa, and Saegusa returned to Ravinia in 2019 alongside Lady Jeanne and Sir James Galway for a concert of unique works for flute and strings. Ouzounian also appeared at Ravinia with The Knights in 2017 and will be back in the Martin Theatre with the chamber orchestra on September 13 for one of the first live-audience performances of Anna Clyne’s Shorthand as part of The Kreutzer Project. Below: Ouzounian appeared at Northwestern University’s Pick-Staiger Hall in early 2020 with the Aizuri Quartet, one of their first concerts with violinist Emma Frucht in the chair of former members Zoë Martin-Doike (2012–16) and Ariana Kim (2016–19). When Ouzounian and The Knights prepared for the world premiere of the string orchestra version in July 2020 at the Caramoor Festival, the music carried even more emotional meaning. “It was the first thing I played since the pandemic lockdown began [in March 2020],” she said. “We really didn’t know if it would go forward; everyone was scared at that time. We got together in Long Island to rehearse outdoors. We were far apart and outside in the blistering heat. Then we went to Caramoor to per- form it as part of a livestream. There was no audience. And we recorded it right before the premiere that day. “It was an incredibly emotional and unusual experience,” said Ou- zounian. “I remember the feeling of being with my friends, The Knights. I had missed my friends so much, and I felt so much love and support from them at that place and time in the world. I felt like our playing was more powerful—vulnerable and powerful, together.” She’s looking forward playing the piece for a live audience at Ravinia and perhaps eventually on a tour with The Knights. Meanwhile, thanks to the Cleve- land Quartet Award, the Aizuri’s performance calendar will be expand- ing. Which means the four members will continue to think about new approaches to programming. “It’s important for us not to be pigeonholed,” Ouzounian said, “or for people to assume that we would play a certain type of repertoire or play in a certain way. I think as a quartet we can play Beethoven in a very power- ful way and also play very complex, rhythmic, sort of groove-based new music in a very powerful way. “We talk about the quartet being a living art,” she said. “One of our values is curiosity. Hopefully, our programs inspire curiosity in audience members who might not otherwise have drawn a connection between Hildegard von Bingen and Beethoven and Conlon Nancarrow. It’s about creating a home for curiosity and exploration, both for us and for listeners.” Wynne Delacoma was classical music critic for the Chicago Sun-Times from 1991 to 2006 and has been an adjunct journalism faculty member at Northwestern University. She is a freelance music critic, writer, and lecturer. RAVINIA MAGAZINE • JULY 4 – JULY 17, 2022 18