COCC Professor and Conductor of Central Oregon Symphony to Retire

Central Oregon is preparing to say thank you, and somewhat of a goodbye, to a man who has been an absolute pillar of the musical community for almost 30 years. Michael Gesme has been the conductor of the Central Oregon Symphony for his entire career here in Bend, in addition to his work as professor of music at Central Oregon Community College, director of the Cascade Winds Symphonic Band, adjudicator, guest conductor for a variety of regional symphonies and much more. His retirement from COCC and the symphony marks a significant change not just in his life, but also for the music world of Central Oregon. Gesme’s leadership has also included operas, musicals, chamber groups and more collaborations than one can count. His life’s work (so far) is a testimony to his musical prowess, excitement and energy – gifts that he has infused into our community which have resulted in diverse and exquisite music we have been rather spoiled to experience.

the Source: As you experience your last year as Professor of Music at COCC and conductor of the Central Oregon Symphony and various other musical ensembles, what are some of the major highlights of this year for you?

Michael Gesme: While this is my last year, and I acknowledge that it is a milestone after 30 years, the reality is that this season is no different than any other. This season is in no way a “bucket list” of the music I’ve always wanted to do. It is a continuation of my overarching goal as a music director, which is to program music that works well for the ensembles that I direct, and which I hope will inspire our audiences and musicians. Specific highlights include the return of the Central Oregon Symphony’s Virginia Riggs Children’s Concert in late January 2026; a performance of Robert W. Smith’s monumental “Symphony No. 1, ‘Divine Comedy’” with the Cascade Winds in March; the premier of a commissioned work for mezzo soprano and orchestra by [local composer] Chris Thomas for the April concert of the Central Oregon Chamber Orchestra, and Respighi’s “Pines of Rome” will, of course, be a grand undertaking by the COS (Central Oregon Symphony) in May. OperaBend’s production of Strauss’ Die Fledermaus will round out the season in June. I am blessed to be able to be a part of so much amazing music in such a short time!

tS: How have you seen the arts community in Central Oregon change over your 29.5-year tenure

MG: When I look back over the past three decades, I am intrigued by how things have evolved with the performing arts. There are some organizations that were here when I came in the 90s that are no longer in our community, the Cascade Festival of Music, for example. Many, like the COS, Cascade Chorale, Youth Choir of Central Oregon and the COCC Big Band Jazz have been proudly doing their work for nearly 60 years, growing and developing with the changing scene. Others, of course, have come and gone. But I’m grateful to the many organizations that sensed a niche that needed to be filled and are now thriving in our community, such as the Cascade Horizon Community Band, Bend Pops Orchestra, BEAT, Central Oregon Mastersingers, TMP, High Desert Chamber Music, Greenhouse Cabaret and the list goes on.

tS: Speaking of all these great musical organizations, I know you have been planting seeds that Bend should have a performing arts center of its own. Do you have a feeling about when this might finally happen?

MG: This is a challenging question. I have been championing this cause since the late 90s and, frustratingly, there have been a number of reasons for why it hasn’t happened. The current push, led by the Central Oregon Center for the Arts, has tremendous momentum and is further along in the process than any other attempt with which I have been involved. We are currently involved in a lengthy and exhaustive site selection process, led by some amazing West Coast performing arts consultants, that compares all the positive and negative aspects of potential locations around Central Oregon. If all goes smoothly and a site and size is identified, along with agreements with a partnering institution, if required, the next phase will be a detailed cost assessment followed by major fundraising. If someone were to offer up 100 million dollars to make this happen, we could have shovels in the ground within a few years and a facility open around 2030. However, the reality is that fundraising for something this significant is a process that will take time and the contributions of thousands of individuals and businesses who passionately wish to see this happen. Optimistically, the window for the grand opening is likely six to eight years if all stays on track. That said, I would love to be wrong and attending performances in a new facility before the end of this decade.

tS: Fingers crossed! I read that you applied for the position at COCC right after graduate school in Missouri, and this has been your only official “job” since college, so retiring will be a huge life change for you. What excites you about the next phase of your life?

MG: True. Big change for sure! What excites me the most is the opportunity to do what Janet, my wife, would like to do. She has a passion for learning and teaching languages that is insatiable, so we are exploring options where her passions can be exercised and realized.

tS: When did you know that you wanted to be a conductor?

MG: I have known that I wanted to “do music” since I was about five years old. My parents tell a cute story about how, at the conclusion of every Sunday church service, I would hang over the railing of the organ loft to watch the person and the action that was making those amazing sounds. What “doing music” was certainly evolved over the next dozen years. I had the opportunity to direct both the band and the choir multiple times when I was in high school and those experiences definitely put me on the conducting path. In college I initially thought that I would be a choral conductor, but I fell in love with orchestra after about two weeks on campus and, as they say, never looked back.

tS: As you pass the baton to a new conductor, what advice or encouragement would you like to give them?

MG: Bend is an amazing place. Community support for the arts is tremendous, and it is important to be involved in and give back to that community. Know your ensemble: not just what they can do musically, which is incredibly important, but know the people who are in the ensemble. Treat them like your family, because they are. If they know that you care, truly care, they will move mountains to do what you ask of them.

This article appears in the Source December 18, 2025.