by Mike Telin and Daniel Hautzinger
“I’m excited because I feel like it might be one of the better things that I’ve put together,” Apollo’s Fire artistic director Jeanette Sorrell exclaimed about her new program during a recent interview. While putting together her previous Appalachian-inspired program, “Come to the River,” Sorrell said, “I was pretty much a newcomer to the field. This time I feel I’m starting from a deeper place.”
Beginning on Thursday, June 12, and continuing through Sunday, June 22, at venues throughout the area (see our concert listings page for times and locations), Apollo’s Fire will present “Glory on the Mountain: An Appalachian Journey.” The concerts will feature the mixture of fiddle tunes, ballads, shape-note hymns, and spirituals that typify Appalachian music. (An extra performance on Saturday, June 14 at 3:00 pm has just been announced.)
“With ‘Come to the River’ I spent two years researching fiddle tunes and ballads from Appalachia and it was a wonderful introduction into that repertoire. I had heard some lovely ballads when I was in the Shenandoah Valley as a teenager, but it was not the music that I was performing and studying as my profession,” Sorrell recalled. [Read more…]
In their “Message from The Directors”, ChamberFest Cleveland artist directors Diana and Franklin Cohen write, “According to the Greek philosopher and mathematician, Pythagoras, the number three is the ‘noblest of digits’ because it is the only number that equals the sum of its parts. Like that noble number, ChamberFest Cleveland’s third anniversary season, THREE!, is possible because of what has come before.”
on’t be surprised if the second concert by Cleveland’s new choral ensemble, Contrapunctus, at St. John’s Cathedral in downtown Cleveland on Friday, June 6 at 7:30 pm, is missing a few voice parts — tenors and basses, in fact. British countertenor David Acres, who founded and conducts the ensemble, planned it that way.
Genuine beaming smiles are a rare sight among high school students, those supremely self-conscious paragons of effortful cool. But on June 2, dozens of delighted adolescent grins shone forth from the stage of Severance Hall, an occurrence even more remarkable for taking place in the decidedly unhip venue of a classical music concert hall. Sharing the stage with such an exciting performer as pianist, singer, and songwriter Ben Folds elicited not only unembarrassed smiles, but also head banging and exuberant playing from the young musicians of the Contemporary Youth Orchestra (CYO), directed by Liza Grossman.
The Cleveland Orchestra’s production of Janácek’s Cunning Little Vixen was a tough act to follow, but the last concert of the Severance Hall season under guest conductor Vladimir Jurowski proved to be anything but anti-climactic. A sumptuous performance of an hour-long suite from Prokofiev’s ballet, Cinderella, a spellbinding reading of Britten’s Violin Concerto by Simone Lamsma and the opportunity to hear a very early Stravinsky work, the Scherzo fantastique, op. 3, added up to a surprisingly brilliant season finale. I heard the first of three concerts on Thursday, May 29.
“Summers @ Severance,” a new series on Friday evenings in August, will feature The Cleveland Orchestra in three performances at Severance Hall.
“We have a penchant for the dramatic,” Burning River Baroque artistic director and violinist Peter Lekx said in a recent Skype conference call. “This program found itself when we discovered Nicola Porpora’s cantata, Destatevi, destatevi o pastore. It just screamed Burning River Baroque.”
On Friday night, May 23, a quartet of Cleveland Orchestra musicians — Isabel Trautwein and Katherine Bormann, violins, Sonja Braaten Molloy, viola, and Tanya Ell, cello — performed at Mahall’s, a combination restaurant, bar, and vintage bowling alley with a friendly, Brooklyn-esque atmosphere.