by Daniel Hathaway

By way of consolation, soprano Fatma Said’s luminous singing in Maurice Ravel’s Shéhérazade made up for the delay.
Drawn to the exoticism of The Arabian Nights, in 1904 Ravel wrote both an overture and a three-movement song cycle on poems by Tristan Klingsor. We heard the song cycle, which Caroline Rae described in a Philharmonia Orchestra essay: [Read more…]




Featured today: Noonday concerts in Cleveland and Youngstown, CIM’s Music for Food Benefit, one in a string of Oberlin faculty concerts to open a new semester, and replays of ChamberFest performances. Also, links to articles about a Grammy nomination controversy, the future of international orchestra tours, and the legacy of conductor Michael Gielen. And a nod to the birthday of Handel and the passing of Elgar.
IN THIS EDITION:
During the pandemic, the anxiety caused by an unknown future and the longing to return to normal have been beautifully expressed by thousands of people around the globe who participated in the Global Vaccine Poem project. Lines from these poems served as the inspiration for British composer Cecilia McDowall’s On the Air (Dear Vaccine).
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It was historical performance practice at its best this past Wednesday when the Cleveland Silent Film Festival presented a screening of the 1928 Buster Keaton classic comedy Steamboat Bill, Jr. at Oberlin’s historic Apollo Theater. Accompanied by the brilliant Mont Alto Motion Picture Orchestra, the evening captured the allure of the “Golden Age” of film.
The next concert from Les Délices is indeed about gods and heroes, built around 14th-century songs referencing characters such as Jason and Medea, Ulysses and Circe, and Tristan and Isolde.
In This Edition: