by Mike Telin
“I’m so happy to be coming back to my hometown. I’m quite excited about it,” cellist Alisa Weilerstein said during a telephone call from Belfast, Northern Ireland. On Thursday, November 6 at 7:30 pm in Severance Hall, Weilerstein will join The Cleveland Orchestra and conductor Giancarlo Guerrero in a performance of Edward Elgar’s Cello Concerto.
The program, which also includes Arvo Pärt’s Cantus in Memory of Benjamin Britten and John Adams’s Harmonielehre, will be repeated on Saturday evening and Sunday afternoon. On Friday at 4:00 pm in Reinberger Chamber Hall, Alisa Weilerstein will lead a special public masterclass with students from Northeast Ohio colleges. Admission is free but a ticket is required.
Since making her debut with The Cleveland Orchestra at age 13, Weilerstein has gone on to establish a career of international renown. She has received a number of honors, including an Avery Fisher Career Grant, and in 2011 was named a MacArthur Foundation Fellow. [Read more…]
Carlton Woods and BlueWater Chamber Orchestra had a fine time celebrating the Halloween weekend in their concert at Plymouth Church in Shaker Heights on Saturday evening. The featured work on the program was Jon Deak’s The Headless Horseman of Sleepy Hollow, an action-packed concerto for string quartet and orchestra, with narration read by WCLV president Robert Contrad. 
Musicians who are inclined to talk to the audience during concerts should take their lead from Timothy Weiss. On Saturday afternoon in Gartner Auditorium of the Cleveland Museum of Art, the director of the Oberlin Contemporary Music Ensemble gave cogent and dryly humorous introductions to music by Luke Bedford, Philip Cashian and Morton Feldman, and conducted a brief, impromptu interview with composer Sean Shepherd. 
German-American composer Kurt Weill had one foot in opera and the other on Broadway when he wrote Street Scene in 1946 with lyrics by Langston Hughes and book by Elmer Rice, based on Rice’s play of the same name. Oberlin Opera Theater director Jonathon Field chose what Weill alternately called his “Broadway Opera” or his “American Opera” for their fall production.
Since the demise some years ago of Opera Cleveland and Lyric Opera Cleveland, opera performances in Cleveland have been few and far between. Several plucky companies, including Opera per Tutti, have popped up in the last few years, offering small-scale productions, often of more unusual repertoire. 
Ornate, exotic, and opulent, Claudio Monterverdi’s Vespers of 1610 defines the meaning of “Baroque” — and as a religious work, it just might be a Puritan’s worst nightmare. On Friday evening, the 37 singers and instrumentalists of Apollo’s Fire gave the large audience in St. Paul’s Episcopal Church in Akron a dazzling guided tour of its many and varied attractions.