Cleveland Orchestra seeks volunteers for Severance Hall season

Severance-Hall-SummerThe Cleveland Orchestra is seeking volunteer ushers, greeters, ticket-takers, tour guides and store clerks for the 2015-2016 Severance Hall season. Opportunities to serve include concerts by The Cleveland Orchestra (evening, matinee, education, family, and holiday events) and performances by other ensembles including the Cleveland Orchestra Youth Orchestra, Cleveland Pops Orchestra, Cleveland Institute of Music Orchestra, Cleveland Youth Wind Symphony, and the Cleveland Women’s Orchestra, as well as other musical and non-musical events.

Individuals who are energetic, enthusiastic, and eager to assist the Severance Hall audiences with a high level of customer service are invited to attend open interviews in the Smith Lobby of Severance Hall (ground floor near the Box Office) on Wednesday, August 5, Monday, August 17, or Thursday, August 27, anytime between 5:00 pm to 8:00 pm. [Read more…]

Organist Todd Wilson to improvise scores for silent films at Stambaugh and Severance Halls

by Daniel Hathaway

SpeedyWell-known concert organist Todd Wilson will explore another side of his art this month when he improvises musical scores to two silent film classics at Stambaugh Auditorium in Youngstown and Severance Hall in Cleveland. Speedy, Harold Lloyd’s 1928 Paramount film, which chronicles the attempts of Harold “Speedy” Swift to save the last horse-drawn streetcar in New York (with a cameo appearance by Babe Ruth) will be screened at Stambaugh on Sunday, October 19 at 4:00 pm. Then the 1925 silent version of Phantom of the Opera, starring Lon Chaney, will be shown at Severance Hall on Tuesday, October 28 at 7:30 pm. Phantom is part of this season’s Cleveland Orchestra’s Celebrity Series, but Wilson will be the only musician on stage for the occasion. [Read more…]

Cleveland Orchestra to play three August Fridays at Severance Hall this summer

Severance-Hall-Summer“Summers @ Severance,” a new series on Friday evenings in August, will feature The Cleveland Orchestra in three performances at Severance Hall.

The Front Terrace of Severance Hall will be open before and after each 7:00 pm concert, with beverage service and seating areas available. “Happy hour” drink prices will be in force during the hour before the performances.

On Friday, August 1, Johannes Debus will conduct the Orchestra in Ravel’s Pavane for a Dead Princess and the Piano Concerto in G with Benjamin Grosvenor as soloist. The program will conclude with Rachmanninoff’s Symphonic Dances.

Jahja Ling will lead an all-Beethoven concert on August 15, including the Overture to The Creatures of Prometheus, Symphony No. 4 and the Choral Fantasy with pianist Orion Weiss and the Blossom Festival Chorus. The performance is an official cultural event of the 2014 Gay Games being hosted in Cleveland from August 9-16.

Franz Welser-Möst will close out the mini-series with a concert of music by Jörg Widmann (Lied and Flûte en suite with Joshua Smith) and Brahms (Symphony No. 1) on August 29, a performance in which the Orchestra is partnering with local colleges and universities to mark the kick-off to the fall semester.

Report: Martin Luther King Jr. Day Community Open House at Severance Hall (January 20)

by Daniel Hautzinger

MLK1In celebration of Martin Luther King, Jr. Day on January 20, The Cleveland Orchestra honored Dr. King’s calls for universal brotherhood by hosting its annual Community Open House featuring various Cleveland performing arts groups.

Severance Hall provided warmth throughout the snowy day, with various performances and activities scheduled. The Bogomolny-Kozerefski Grand Foyer was transformed into a dance floor with flashing lights and an emcee for a fun diversion between performances. Downstairs, in the Smith Lobby, guests were invited to view a display about the life of Dr. King.

Performances began at 12:15 with the Cleveland Orchestra Youth Chorus. Directed by Lisa Wong, the enthusiastic high school-age singers demonstrated balance and musical maturity well beyond their years. [Read more…]

Cleveland Orchestra announces 2013-2014 Severance Hall concerts

Cleveland Orchestra and Chorus

Today, The Cleveland Orchestra released details of its 2013-2014 Severance Hall season. Beginning in September, evening performances (except for the Fridays @ 7 events) will begin at 7:30 pm rather than 8:00, opera returns to Severance Hall with two performances of Janáček’s The Cunning Little Vixen in May, and three concerts will mark the 100th anniversary of the birth of Benjamin Britten (1913-1976).

Thursday, SEPTEMBER 19 at 7:30 p.m.
Saturday, SEPTEMBER 21 at 8 p.m.
Fabio Luisi, conductor
Hélène Grimaud, piano
Maureen McKay, soprano – Cleveland Orchestra debut

  • BEETHOVEN Piano Concerto No. 5 (“Emperor”)
  • MAHLER Symphony No. 4

Friday, SEPTEMBER 20 at 7 p.m.
Fabio Luisi, conductor
Hélène Grimaud, piano
KeyBank Fridays@7

  • BEETHOVEN Piano Concerto No. 5 (“Emperor”)
  • SCHUMANN Symphony No. 1 (“Spring”) [Read more…]

Review: “Make Music!” showcase concert brings several generations of musicians to the Severance Hall stage (March 7)

by Daniel Hathaway


We haveFranzBlossom a vision that Cleveland has more people making music than anywhere”, Cleveland Orchestra music director Franz Welser-Möst said before bringing the Orchestra’s “Make Music!” week showcase concert to a suitably festive conclusion on Thursday evening at Severance Hall. Not every music-maker in this vibrant community and region was in the spotlight last night, but everybody who regularly rehearses and performs under the roof of Severance Hall — plus the kids who make up the El Sistema @ Rainey string orchestra program under founder and director Isabel Trautwein — had the opportunity to demonstrate their wares to a large audience.


The two-hour concert culminated in a performance of Handel’s Hallelujah chorus from Messiah combining The Cleveland Orchestra, Youth Orchestra, Youth Chorus, Children’s Chorus, some adults from the Cleveland Orchestra Chorus — and the audience, who were invited to join in, and stood up in time-honored fashion to do so. [Read more…]

Review: Cleveland Orchestra: Dohnányi returns with Henze and Mahler (February 28)

by Daniel Hathaway

Cleveland Orchestra music director laureate Christoph von Dohnányi has returned to Severance Hall this weekend to revive part of one of his pet projects, Hans Werner Henze’s opera The Bassarids, and to conduct Mahler’s first experimental venture into symphonic form. On Thursday evening, the orchestra and audience welcomed their long-time maestro back with a palpably warm reception. Dohnányi conducted the premiere of Henze’s Euripides-inspired opera at the Salzburg Festival in 1966 and led concert performances at Severance and Carnegie Halls in 1990. In 2005, at the conductor’s suggestion, Henze reshaped parts of the third act — where the action turns particularly dramatic — into an orchestral suite entitled Adagio, Fuge and Mänadentanz that covers a wide span of emotional territory in just half an hour. [Read more…]

Review: Cleveland Orchestra — a second week under Herbert Blomstedt: Mozart & Dvorak (February 21)

by Daniel Hathaway

TheBlomstedt-Herbert-3 Cleveland Orchestra never fails to play at a high level, producing results that can make even an indifferent guest conductor look good. When the orchestra collaborates with someone as inspiring as Herbert Blomstedt, the outcome can be sheer magic. The second weekend of Blomstedt’s sojourn at Severance Hall treated audiences to luminous and revealing performances of symphonies by Mozart and Dvorak so well-known and so often played that they can seem as ordinary as the furniture in your living room.

For Mozart’s second g-minor symphony (No. 40), the 84-year old Swedish-American maestro scaled down the string section by one-half to two-thirds, discarded both baton and podium and led the ensemble from memory at stage level. [Read more…]

Preview: Gianandrea Noseda & Massimo La Rosa to appear with The Cleveland Orchestra at Finney Chapel & Severance Hall

by Mike Telin

TheNoseda-&-La-Rosa Risorgimento that united the Italian peninsula’s crazy-quilt of city states and regions into a single nation during the nineteenth century will be reenacted in a small way at Finney Chapel in Oberlin and Severance Hall this weekend, when guest conductor Gianandrea Noseda (born and raised in the North near Milan) and Cleveland Orchestra principal trombonist Massimo La Rosa (a native of Sicily) join together in Nino Rota’s Trombone Concerto. (Also on the program, Rachmaninoff’s The Isle of the Dead and Prokofiev’s Symphony No. 6).

It gets even better with an Italian composer in the mix. “Two Italians in Cleveland playing music by an Italian composer,” Noseda said. “The ingredients are intriguing.” “When I found out that my solo debut would be conducted by Mr. Noseda,” La Rosa recalled, “I immediately thought to myself that the Rota concerto would be the right thing to share with our audiences.” There are also parallels between composer, conductor and soloist. Both Rota and Noseda were born in Milan, and the first performance of the concerto took place in 1974, the year La Rosa was born. [Read more…]

CD Review: New live recordings: Mitsuko Uchida in Mozart with The Cleveland Orchestra & New Year’s with FWM and the Vienna Philharmonic

by Daniel Hathaway

TheUchida Mozart second in Dame Mitsuko Uchida’s new cycle of Mozart concertos with The Cleveland Orchestra features live performances of Nos. 9 and 21 recorded last April 5-7 in Severance Hall (the first recording in the series, including concertos Nos. 20 and 17 won a 2011 Grammy Award for best classical performance).

In his review of one of those live performances last season for this publication, Nicholas Jones wrote, “Sensitive and confident, utterly secure in passage work, energetic and lyrical by turns, she packed these familiar concertos with beauties, pleasures and surprises … Uchida’s rapport with the orchestra shone through the performances, which she conducted from the keyboard. Her style was part of the music’s rhythmic energy — playing a phrase, shooting up from the piano bench, her hands a-flutter as if they were finding notes in space in the active passages or, in the sombre parts, turned palm upwards as if imploring the gods (or the musicians?)”  [Read more…]