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Archives for July 2019

Blossom: Rhapsody in Red, White, and Blue with The Cleveland Orchestra (July 6)

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by Rory O’Donoghue

As the lights dimmed and conductor Roderick Cox readied his baton, the boisterous crowd at Blossom hushed in anticipation of pianist Aaron Diehl’s take on Gershwin’s Rhapsody in Blue on Saturday, July 6. Everyone knows the opening clarinet lick — the low velvet trill, the raucous rise — but this time, a surprise! A bird rose from somewhere behind the percussion section and dive-bombed the first violins. A few players scattered amidst the kerfuffle, shouting, before a valiant audience member somehow snatched the bird out of the air and marched it out of the pavilion to great applause. Cox restored order and clarinetist Afendi Yusuf’s solo bloomed from the back of the orchestra. [Read more…]

Flute and piccolo featured
at Kent Blossom this week

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by Jarrett Hoffman

Planning a recital means choosing music, of course, but also choosing people, and at this Wednesday’s faculty concert at the Kent Blossom Music Festival, Mary Kay Fink knew she wanted to play with Jessica Sindell.

The two have worked together in The Cleveland Orchestra for a season now — Fink, principal piccolo, has been in the flute section since 1990, while Sindell joined as assistant principal flute last fall. But their history runs deeper: Sindell studied with Fink in high school, having grown up in Pepper Pike. Later on, when she was preparing for professional auditions, she would sometimes play for Fink.

“I encouraged her to go the piccolo route,” Fink said during a recent interview, “and then she got the job in Rochester [solo piccolo in the Rochester Philharmonic].” Fink noted that she didn’t coach Sindell before the audition in Cleveland, but said that it’s been a great fit this past season. “She had subbed with us, and [principal flute] Josh [Smith] really enjoyed her. And her first teacher was Saeran St. Christopher, who plays second flute. It’s been a pretty easy transition — it’s been really wonderful.”

[Read more…]

“A rip-roaring good time”:
Yolanda Kondonassis talks about
Jennifer Higdon’s Harp Concerto

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by Rory O’Donoghue

For Yolanda Kondonassis, premiering a new concerto is an on-going project. 

“The whole mechanism of getting pieces played isn’t always factored into the commissioning of a piece,” the world-renowned harpist said by phone from New York. “You’ve got to premiere music, and then launch it. It’s like the last scene of Raiders of the Lost Ark, where after risking everything, the precious artifact gets hoisted up on a forklift and chucked onto the top shelf of the National Archives to gather dust — that’s sadly what happens to so many pieces of music. There’s a big difference between having the music, and having the music stay alive.”  [Read more…]

Ohio Light Opera: Pirates of Penzance enchants (July 3)

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by Kelly Ferjutz
Special to ClevelandClassical.com

Quick — name the only Gilbert & Sullivan operetta to have been written in the United States. Why, it’s The Pirates of Penzance, a delightful tribute to the absent-minded composer Arthur Sullivan. In the late 1870s, Sullivan and Gilbert and other artists, presumably, came to America to premiere their new musical here, after one performance in England, to protect their copyright.  Except that, in rushing around to get on the boat, Sullivan forgot to bring the music. So he simply wrote it all over again. Once that little hangup was out of the way, the show was a triumph all around, and the copyrights (U.K. and U.S.) were indeed protected. [Read more…]

New “Music in the Circle” series debuts in University Circle in July

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by Daniel Hathaway

University Circle seemed to be firing on all cylinders last month — on Saturday, June 8, for example, in addition to hosting Parade the Circle, the Cleveland International Classical Guitar Festival and Cleveland International Piano Competition were producing simultaneous events at the Cleveland Institute of Music, and the Contemporary Youth Orchestra was packing Severance Hall for Jason Mraz down the street.

July is a different matter, and several U.C. institutions have joined forces to inject a new series into the calendar this year designed to keep performances flowing and to increase access to classical music. We spoke with Israeli pianist and recent CIM graduate Or Re’em, who is Music Director for Music in the Circle, an international summer music festival, to find out what’s in the plans.

Re’em had previously been involved with Judson Manor’s intergenerational program that houses CIM students in University Circle’s celebrated retirement community (read a New York Times feature here). “When the festival idea came up, Judson generously offered to sponsor visiting artists in their guest apartments,” he said. “That made it possible to invite artists from South Africa, Germany, Switzerland, and Israel. The program grew bigger than I originally expected.” [Read more…]

Opinion — Piping Down: letters from a reluctant opera queen (I)

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by Parker Ramsay

For those of us keeping track, June has been an eventful month for American opera. Premieres of Anthony Davis’ The Central Park Five (Long Beach Opera) and Ian Bell’s Stonewall (New York City Opera) placed narratives of society’s dispossessed front and center on opera stages on both coasts. So too has a lost opera found a rebirth: directed by Yuval Sharon, Meredith Monk’s Atlas moved audiences in a production by Los Angeles-based Industry Opera at Walt Disney Concert Hall.

Meanwhile at the Gärtnerplatztheater in Munich, I had the welcome surprise of seeing an opera which incorporates experiences of racial prejudice and homophobia at the same time. Composed in 1965, Hans Werner Henze’s Der Junge Lord tells the story of Lord Edgar, a secretive English aristocrat who settles in Willhelmine, Germany, and soon finds himself under suspicion of homosexuality, child abuse, and the general social transgression of socializing with friends of African descent (two roles are specifically cast for persons of color).  [Read more…]

ENCORE “Sunday Unplugged” features unusual Bloch, Dvořák & Bartók (July 7)

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by Daniel Hathaway

The last “Sunday Unplugged” concert of ENCORE Chamber Music’s fourth season featured off-the-beaten-track works by Bloch, Dvořák, and Bartók in the sauna-like ambiance of the Tudor House music room at Gilmour Academy on Sunday afternoon, July 7. Fans wafting air over tubs of ice water helped cool the faculty and Young Artist performers, while the audience made good use of the stylish plastic hand fans the management thoughtfully provided. [Read more…]

Tri-C JazzFest: A celebration of the music of Tadd Dameron (June 28)

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by Rory O’Donoghue

The Clayton-Hamilton Jazz orchestra brought a lively set to the Ohio Theatre on Friday, June 28 as part of Tri-C JazzFest. Joined by the incomparable talent of Dianne Reeves and trumpetist Dominick Farinacci, the evening was a joyous celebration of Cleveland-born jazz legend Tadd Dameron.  [Read more…]

Legends share the stage at JazzFest: Béla Fleck & The Flecktones and John Scofield’s Combo 66 (June 28)

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by Rory O’Donoghue

“I wouldn’t be here without this man,” pianist/harmonica player Howard Levy said, gesturing to Béla Fleck. “I wouldn’t be here without me either,” Fleck retorted. 

With bassist Victor Wooten and percussionist and “drumitarist” Roy “Future Man” Wooten, they form the “extraordinary initial lineup” of Béla Fleck & The Flecktones. The quartet closed the night on June 28 at the KeyBank State Theatre, a Tri-C JazzFest double-feature that opened with John Scofield’s Combo 66. It was an evening of legends, only getting better with age.  [Read more…]

Three ENCORE concerts (June 28 & 30, July 5)

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by David Kulma

The theme of ENCORE Chamber Music’s fourth season is “La Bohème: Art and Freedom,” mixing meanings of Bohemianism. It has brought together the 19th-century artistic movement that sought to break down conventions (think the characters from Puccini’s opera) with composers from Bohemia, of which Dvořák is the most famous. I attended three concerts where the overarching theme was successfully bent to include music from Mozart to living American composers.

[Read more…]

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