Jane Berkner, Author at Cleveland Classical

BlueWater Chamber Orchestra at Plymouth Church (May 13)

May 16, 2017 by Jane Berkner

by Jane Berkner

BlueWater Chamber Orchestra is a jewel in the local arts scene’s crown. It’s always a treat to hear these highly talented regional musicians, and their concert under the direction of guest conductor Thomas Hong at Plymouth Church on May 13 was no exception. Titled “Flying High,” the program included two works with bird themes. [Read more…]

Singers Companye: Always Something Sings at Faith Lutheran, Fairlawn (November 13)

November 17, 2016 by Jane Berkner

by Jane Berkner

Attending the Singers Companye concert on Sunday afternoon, November 13 at Faith Lutheran Church in Akron turned out to be a healing balm at the end of a bruising week. Contained within the program of choral works was a logical arc connecting its poetry to our current experience. [Read more…]

Orpheus Chamber Orchestra makes its Blossom debut (August 27)

August 30, 2016 by Jane Berkner

by Jane Berkner

The dark, threatening cloud over Blossom Music Center on Saturday evening, August 27 delivered a thunderstorm right at the appointed concert hour. Fortunately for the large audience gathered to hear the conductorless Orpheus Chamber Orchestra play four of J.S. Bach’s celebrated Brandenburg Concerti, it blew over rather quickly. Waiting an extra ten minutes for the thunder to subside was not a huge concession, especially given that this was the much-anticipated debut of Orpheus at Blossom. [Read more…]

CIM Opera’s engaging Puccini double bill prompts both laughs and tears (Nov. 7)

by Stephanie Manning

The three one-act operas that make up Giacomo Puccini’s Il trittico (The Triptych) are typically connected by theme, rather than location. Although the trio of works take place in 13th-century Paris, 17th-century Siena, and 20th-century Florence respectively, they all deal with keeping someone’s death a secret — whether tragically or comedically.

CIM Opera Theater’s recent production of two-thirds of the triptych brought the action into one particular place and time, as director Dean Southern moved both Suor Angelica and Gianni Schicchi into 1918’s New York City. What stood out more, however, were the impressive performances from across the large cast, which I heard on November 7 in Kulas Hall.

[Read on…]

Oberlin Orchestra with the Poiesis Quartet in Finney (Oct. 31)

by Daniel Hathaway

Fresh from winning the grand prize at the prestigious Banff Competition on the last day of August, the Poiesis Quartet (Sarah Ying Ma & Max Ball, violins, Jasper de Boor, viola, and Drew Dansby, cello) took a late October victory lap at the Oberlin Conservatory, returning to their place of birth as an ensemble to give master classes and solo with the Oberlin Orchestra.

Judging from the turnout in Finney Chapel on Friday, it might not have been a prizewinning idea to schedule a major orchestra concert on a college campus on Halloween, but there was nothing slim about the sound that the stage full of musicians produced. Brilliantly scored works by Carlos Simon, John Adams, Angélica Negrón, and Zhou Tian, were conducted with precision by Rafael Jiménez.

[Read on…]

Cleveland Orchestra makes a sinister showing of Alfred Hitchcock’s Psycho (Nov. 5)

by Peter Feher

A violin bow is an unlikely murder weapon. But in the hands of composer Bernard Herrmann, the slashing motion of a string instrument seems almost one and the same with the stabbing knife onscreen in Alfred Hitchcock’s 1960 classic Psycho.

The infamous soundtrack to secretary Marion Crane’s final moments in the shower — and also to private investigator Milton Arbogast’s stumbling death down the stairs later in the film — is horrifyingly simple. A series of screeching down-bows begins in the first violins and then stacks in dissonant intervals as the remaining string sections join in. The gesture is more like a Foley effect than music per se, evoking something between a human scream and the shriek of metal against metal.

[Read on…]

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