by Tom Wachunas
First-time listeners to Music Einem Ritterballet (Music for a Knight’s Ballet) might understandably hear more of Mozart or Haydn than Beethoven in the work. Still, the choice of this early composition (1791) to open the third concert of the Canton Symphony Orchestra Beethoven Festival on April 25, jaunty and charming as it is, ultimately served to illuminate Beethoven’s separation from his classical predecessors in a steady and bold ascent to the pinnacle of his ninth symphony. [Read more…]
Violinist Michael Ferri, who played the Bruch concerto with the Cleveland Women’s Orchestra in 2012, returned to help celebrate the 80th anniversary of that ensemble with the Tchaikovsky concerto on Sunday, April 26 in Severance Hall. Under the direction of Robert Cronquist, Ferri, only one-quarter as old as the CWO, gave a fresh and invigorating reading of the concerto that peeled layers of accrued varnish off the work, making it sound like the musical equivalent of a newly-cleaned painting. 
No Exit’s third performance of its 2015 spring program on Monday, April 20 at Cleveland State University’s Drinko Recital Hall included a wide range of contemporary sounds and video, ranging from an almost elderly work (dating from 1994) to the first performances of newly-minted pieces. The emphasis was on electronic music, either all by itself or in combination with live performance, and there wasn’t a boring moment. 
It’s all about “the Father of the Symphony” this week at Severance Hall when British conductor Matthew Halls leads The Cleveland Orchestra in three all-Haydn programs that include the Overture to L’isola disabitata, the Concerto for Two Horns, featuring TCO horn players Richard King and Jesse McCormick, and the Symphony No. 101 (“The Clock”). Check our 
“It’s more that the piece came my way rather than me actively looking for it,” cellist Henry Shapard said during a telephone conversation. “Back in the fall I sat down with my great teacher Richard Weiss and asked him what he would like me to play. I had just played Tchaikovsky’s Rococo Variations in the summer, so I expected that he would recommend something like the Dvořák. But he told me that before I did anything else, I really should work on the Kabalevsky.”
On Friday, May 8 at 7:30 pm and Sunday, May 10 at 3:00 pm at the Cleveland Performing Arts Center (formerly Masonic Auditorium), Cleveland Opera Theater will present Puccini’s Tosca. Performed with full orchestra, chorus, and costumes, the production will feature sets designed by renowned Cleveland architect Richard Fleischman.
Opera Per Tutti, founded by Andrea Anelli in 2006, made the bold announcement in December of 2014 that it would re-brand itself as Cleveland Opera Theater. The change was made with one purpose in mind: to create a sustainable model for an opera company in the 21st century in Cleveland. This is the first of three articles that will examine the many exciting endeavors the company is undertaking to make its vision to reality.
Finnish guest conductor Susanna Mälkki and American pianist Jeremy Denk both made their Cleveland Orchestra debuts on Thursday evening, April 23 at Severance Hall in an impressive program of works by Jean Sibelius, Béla Bartók and Igor Stravinsky. The chemistry between the two and the Orchestra produced a precise but risky journey through Bartók’s third piano concerto that was edge-of-your-seats thrilling. 
Can anyone really say they enjoyed Ian Bostridge’s Songs of the Great War program at Plymouth Church on Tuesday evening? The subject matter was unsettling, and Bostridge, who is as much an actor as a singer, went to extraordinary lengths to put the power of the poetry and music across, assisted by pianist Wenwen Du. Profoundly moved would far better describe the experience of hearing this performance of war-related verse set by Gustav Mahler, Rudi Stephan, George Butterworth, Kurt Weill and Benjamin Britten. 
If you had to listen to your upstairs neighbor practice the guitar for hours every day, someone you wouldn’t mind living above you is Vladimir Gorbach. On Saturday, April 11 in the Herr Chapel at Plymouth Church, Gorbach treated a large audience to technically brilliant and musically dazzling performances of works by Llobet, Scarlatti, Bach, Aguado, Piazzolla and Ginastera. The concert was presented as part of the Cleveland Classical Guitar Society’s International Series.