by Daniel Hathaway
Performing Handel’s most famous oratorio poses a challenge for modern conductors, choruses and orchestras. Even in 1742 when it was being created prior to its debut in Dublin, its composer found himself steering a perilous course between the values of puritans, who wanted it to be religious, and thespians, who saw it as a piece of theater. Nowadays, conductors, orchestras and choruses also find themselves navigating between the values of the historically informed performance movement and the desire to make this hugely popular work accessible to a wide public. Decisions, decisions! [Read more…]
James Feddeck, former assistant conductor of The Cleveland Orchestra, played an ambitious and enjoyable organ program Sunday afternoon, December 6, on the Holtkamp instrument in Gartner Auditorium at the Cleveland Museum of Art. The annual Holiday Circlefest was taking place simultaneously all over University Circle, so the museum was swarming with visitors, some of whom stopped in for part of the recital. Feddeck, an alumnus of the Oberlin Conservatory, might be described as an over-achiever, having studied piano, oboe, organ, and conducting at Oberlin. He now mostly travels the world as a guest conductor of many notable orchestras. 
The Contemporary Youth Orchestra will present the first concert of its 21st season on Saturday, December 12 at 7:00 pm in Waetjen Auditorium at Cleveland State University. “The orchestra is exceptionally strong this year and has a sense of maturity not just in their work ethic, which they have always had, but also in their technical ability,” CYO founder and Liza Grossman said during a telephone conversation. Grossman will lead her young musicians in Leonard Bernstein’s Mambo, Dee Jay Doc’s Trust-Belt City: Concerto for Turntable and Orchestra, and the centerpiece of Saturday’s program, Michael Daugherty’s Metropolis Symphony.
Last Friday evening, December 4, the Cavani String Quartet (Annie Fullard and Mari Sato, violins, Kirsten Docter, viola, and Merry Peckham, cello) — who serve as Artists-in-Residence at the Cleveland Institute of Music — presented a stellar concert of Czech music in Kulas Hall as the final event of the CIM Violins of Hope concert series. 
Among the more important activities during the four-month Violins of Hope Cleveland project are the extensive educational activities being offered to schools and students by a number of area institutions. On Wednesday, Thursday, and Friday (December 2 – 4) at 10:10 am and 12:10 noon, associate conductor Brett Mitchell and The Cleveland Orchestra — in conjunction with graduate students from the Case Western Reserve University / Cleveland Play House MFA Program in Acting — presented six engaging, hour-long concerts that unflinchingly presented the events of the Holocaust in music, mime, and words. 
If you’re not quite ready to immerse yourself in concerts totally dedicated to music of the holiday season, you’re in luck. Beginning on Wednesday, December 9 at 7:30 pm at St. Noel Church in Willoughby Hills, guest conductor Stefan Willich will lead CityMusic Cleveland in the first of five concerts that will feature Cleveland Orchestra first violinist Miho Hashizume as soloist in both Piazzolla’s “Spring” from The Four Seasons of Buenos Aires and Vivaldi’s “Winter” from The Four Seasons. Mozart’s Symphony No. 41, K. 551 (“Jupiter”) will round out the performances. Check our
“There are a lot of world-music performers in the area that I would have loved to present over the years if I only had a space,” ethnomusicologist, world-music enthusiast, and promoter David Badagnani said during a recent conversation. “And with this series there is an additional opportunity for audiences to hear world-music performers in a different way.”
With characters like Stanley Kowalski and Blanche Dubois, its setting in the French Quarter of New Orleans in the 1940s, and its subplots of sensuality, delusion, and madness, Tennessee Williams’s play A Streetcar Named Desire makes it a shoo-in for operatic treatment. Composer André Previn and librettist Philip Littell took that task on in 1995, and Cleveland Opera Theater chose their adaptation of Streetcar for its second show at the Masonic Performing Arts Center, mounting a production that was admirable for its ambition and impressive in its results. 
The Cleveland Classical Guitar Society took a different approach to the term “Classical” on Saturday, November 12 at Plymouth Church in Shaker Heights when they presented their first concert featuring Flamenco music. And as we have come to expect from CCGS, their choice of artist could not have been better. From first note to last, Russian guitarist Grisha Goryachev performed with brilliant technique and musical passion during his program that could have easily been subtitled “Homage to Paco de Lucía.” 
In the closing movements of Hector Berlioz’s Symphonie Fantastique, the full brass section makes a spectacular entrance. In 1830, it must have seemed a sound that had never been heard before. Even in the jaded 21st century, it has a startling sonic complexity — at times as metallic as a locomotive’s firebox, and at others as smooth as the oiled bearings that drive the machine.