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Archives for November 2018

Cleveland Orchestra with Pintscher & Gerstein (Nov. 1)

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by Daniel Hathaway

Only two works made up the program for Matthias Pintscher’s guest appearance with The Cleveland Orchestra at Severance Hall on Thursday, November 1, but they were big ones. Pianist Kirill Gerstein — always worth a few surprises — brought a breezy, fresh interpretation to Rachmaninoff’s Third Concerto, and Pintscher and the Orchestra labored mightily to make the music of Bartók’s infrequently performed ballet The Wooden Prince work as a symphonic poem without dancers. [Read more…]

The Cleveland Orchestra: Joshua Smith rediscovers Goethe via Pintscher

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by Mike Telin

Last week, the conductor Matthias Pintscher led The Cleveland Orchestra in works by Rachmaninoff and Bartók. This week, music by the composer Matthias Pintscher will be featured when principal flute Joshua Smith gives the U.S. premiere of Pintscher’s Transir for flute and orchestra.

The program, under the direction of Alain Altinoglu, will also include a Suite drawn by the conductor from Debussy’s opera Pelléas and Mélisande, and Ravel’s Rapsodie espagnole, Pavane for a Dead Princess, and Boléro.

The concerts take place on Thursday, November 8 at 7:30 pm, Friday the 9th at 11:00 am (no Pintscher), and Saturday the 10th at 8:00 pm. Tickets are available online.

Pintscher wrote the concerto for Emmanuel Pahud, principal flute of the Berlin Philharmonic, who described the piece as “the most avant-garde work I have played so far, in terms of all the special effects required and how to synchronize them with the orchestra.”

[Read more…]

Cleveland Orchestra with Tetzlaff & Metzmacher (Oct. 25)

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by Daniel Hathaway

It doesn’t require close proximity to Halloween to make the combination of Webern, Berg, and Schoenberg sound a bit scary for some potential concertgoers. That might account for the slim Thursday audience at Severance Hall on October 25, when Ingo Metzmacher and Christian Tetzlaff visited music of the Second Viennese School with The Cleveland Orchestra. Those who came got an earful of ravishing music fully as expressive as Brahms, just in a different way. [Read more…]

Cleveland Chamber Music Society to welcome the Ehnes Quartet

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by Mike Telin

The Cleveland Chamber Music Society will continue its season on Tuesday, November 13 when they welcome the Ehnes Quartet — James Ehnes and Amy Schwartz Moretti, violins, Richard O’Neill, viola, and Edward Arron, cello.

The 7:30 pm concert at Plymouth Church in Shaker Heights will include Haydn’s Quartet in G, Op. 76, No. 1, Elgar’s Quartet in e, and Bartók’s Quartet No. 5. A pre-concert lecture by Richard Rodda will begin at 6:30 pm. Tickets are available online.

During an email exchange, Amy Schwartz Moretti said that as a proud graduate of the Cleveland Institute of Music, to be able to bring her colleagues to the place that was so formative in her life means a lot to her. She fondly remembers the “wonderful teaching and influence of the Weilersteins, Cavani Quartet, Peter Salaff, and all the amazing teachers who were there during that time. I love every opportunity to come back to Cleveland! It has been especially meaningful to come back for ChamberFest Cleveland each summer and I’m so thankful to the Cleveland Chamber Music Society for inviting my quartet.”  

[Read more…]

Apollo’s Fire: “O Jerusalem” — a conversation with Sorab Wadia

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by Daniel Hathaway

In his bio, Bombay-born Sorab Wadia writes of himself, “He relishes resisting the clutches of typecasting.” No kidding. His musical repertoire ranges from Medieval to pop and rock, with oratorio and opera along the way.

As a singing actor, he has appeared in Mira Nair’s new musical, Monsoon Wedding. As an actor, he’s played Shylock in Shakespeare’s The Merchant of Venice, been featured in a one-man play based on Khaled Hosseini’s The Kite Runner, and appeared on Law & Order, merely to skim the surface of his extensive brag sheet. His classical credentials include piano study at Peabody, where he earned the first of his two masters’ degrees.

Wadia, who will join Apollo’s Fire this weekend as a vocalist for its “O Jerusalem” shows, winds up his narrative noting that he’s now based back in Bombay, “but will jump on a plane for a gig at the drop of a hat.” I reached the hyper-versatile performer on his cell phone to ask how Jeannette Sorrell found him in order to drop that hat. [Read more…]

Oberlin Opera Theater presents
“A Salute to Leonard Bernstein”

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by Mike Telin

When Leonard Bernstein wrote his one-act opera Trouble in Tahiti in 1951, Harry Truman was president, unemployment was at 3.3%, and new roads were built to accommodate the increasing numbers of cars. A gallon of gas cost 19 cents, a loaf of bread 16 cents, and a dozen eggs 24 cents. I Love Lucy debuted on television, Disney’s Alice in Wonderland was released in movie theaters, and, the American Dream could only be achieved by moving to the suburbs.

This week, Oberlin Opera Theater will celebrate the 100th birthday of Leonard Bernstein with a tribute that includes Trouble in Tahiti along with music from his hit Broadway shows West Side Story, Candide, On the Town, and Wonderful Town. Performances take place in Hall Auditorium at 8:00 pm on Wednesday, November 7, Friday, November 9, and Saturday, November 10, and at 2:00 pm on Sunday, November 11. Raphael Jiménez leads the Oberlin Orchestra. Tickets are available online.

“The opera is a social commentary on life in suburbia,” Oberlin Opera Theater Director Jonathon Field said during an interview. Trouble in Tahiti opens with a jazz vocal trio espousing the virtues of living in a little white house in places such as Scarsdale, Highland Park, and Shaker Heights. “They’re singing about what was supposed to be the good life and all the things you were supposed to strive for. But Sam and Dinah discover that in reality, the idyllic 1950s suburban life in America is not all it’s cracked up to be.” [Read more…]

Cellist Mark Kosower highlights eclectic Canton Symphony Program (Oct. 27)

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by Tom Wachunas
Special to ClevelandClassical.com

After hearing the very eclectic program offered by the Canton Symphony Orchestra at Umstattdt Performing Arts Hall on October 27, I was finally convinced of something I had suspected on numerous previous occasions: every member of this ensemble, including music director Gerhardt Zimmermann, is an alchemist. What else could explain the transmutation of the instruments they play and the scores they read into vessels of such profound spirituality? [Read more…]

Report from Germany: Leipzig, Berlin & Dresden

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by Nicholas Jones

I’ve just returned from a trip to Germany, where I encountered three fine conductors, two superb orchestras (in two extraordinary halls), and one stellar opera. My visit was arranged by Road Scholar, a company that offers educational travel, mostly for retirees. I was travelling with twelve other classical music fans, and much of what I am writing here was developed in discussions over dinner or beer. [Read more…]

CIM Opera Theater: Chatting with Dean Southern about two short operas

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by Jarrett Hoffman

The template for a good opera, according to Ravel’s L’Enfant et les Sortilèges: fewer humans, more furniture.

The character list begins with a mischievous child and his mom, but soon branches out to include armchairs, a bench, a couch, a stool, a wicker chair, and a grandfather clock. Then the kitchenware, plants, and animals enter the fray.

But are singers okay with being cast as armchairs? That’s one of many questions I recently got to ask Dean Southern, head of the voice and opera division at the Cleveland Institute of Music. We spoke by phone about CIM Opera Theater’s upcoming double-bill, L’Enfant and Stravinsky’s Le Rossignol — a fascinating work in its own right, and more rarely heard than the already uncommon Ravel.

Performances will take place in CIM’s Kulas Hall from Wednesday through Friday, November 7-9 at 7:30 pm, and on Saturday, November 10 at 3:00 pm. Harry Davidson will lead the CIM Orchestra, which will appear in size XL, thanks to the extensive instrumental colors called for by Ravel and Stravinsky.

[Read more…]

BlueWater Chamber Orchestra: 15 minutes with oboist Martin Neubert

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by Jarrett Hoffman

If you’ve been to an orchestra concert in the area over the last 26 years, you’ve probably heard Martin Neubert’s playing.

Since receiving his master’s from the Cleveland Institute of Music in 1992, the oboist has become a mainstay of the region’s music scene. He’s principal of the BlueWater Chamber Orchestra, Warren Philharmonic, and Opera Western Reserve, and second in the Cleveland Pops Orchestra and Cleveland Chamber Symphony. On top of that, he’s substituted with The Cleveland Orchestra, and performed with the symphonies of Akron, Canton, and Youngstown.

In short, he’s been around.

This weekend, Neubert will step out from the BlueWater ranks to perform as soloist, joining guest conductor Tiffany Chang for her debut with the Orchestra. The program is titled “Opulent Oboe and Scintillating Symphony” — the opulence coming from German-American composer Lukas Foss’s Concerto, the scintillation from Haydn’s Symphony No. 103 in E-flat, “Drumroll.” Apologies to Beethoven for missing out on the fun adjectives, but his Overture to The Creatures of Prometheus, Op. 43 should make for a strong opener.

[Read more…]

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