by Kevin McLaughlin
In a pre-holiday offering, Bluewater Chamber Orchestra’s audience received gifts simple and somber, with intermittent thrills, on Friday evening, November 17. In an all-American program, the pleasures were many: Cindy McTee’s moving Adagio for strings, Barber’s firework of a Violin Concerto, and Copland’s wise portrait of rural America, Appalachian Spring.
by Kevin McLaughlin
Could the prodigiously talented players of the Danish String Quartet all be drinking from some magic source? By now among the world’s finest quartets — perhaps taking the top rung left by the Emerson Quartet after their recent retirement — they perform with such easy excellence and intuitive musical consensus that you wonder: is this the product of hard work and long hours of rehearsal, or some magic potion?
Neither strain nor sweat were visible in the program for the Cleveland Chamber Music Society on November 14 at Disciples Christian Church, which included works by Mozart, Britten, Adès, and their own folk arrangements.
by Kevin McLaughlin
Generosity and poise are two qualities a chamber musician would be fortunate to possess. Fortunately for those of us in attendance at West Shore Unitarian Universalist Church in Rocky River on Monday, November 6, cellist Keith Robinson and pianist Hyunsoon Whang are endowed amply with both, thus conveying only the pleasure of performance in two difficult cello sonatas — Barber’s early Op. 6 and Prokofiev’s late Op. 116. Whang also lent ease and grace to Brahms’ solo Intermezzo, Op. 118, No. 2, and clarinetist Daniel McKelway lent luster in the Brahms Trio, Op. 114 on the second half.
Poise was tested early, as no sooner had our musicians sat down to begin when a stentorian “Ah-choo!” boomed out from somewhere in the audience. Startled, Robinson nodded in the sneezer’s direction with a good-natured, “You scared me!” [Read more…]
Critically acclaimed Canadian soprano Barbara Hannigan has built a separate – though sometimes simultaneous – career as a conductor. She made her conducting debut with the Cleveland Orchestra on Thursday, leading the ensemble in works by Haydn, Strauss Vivier, and Ligeti. Photo: Roger Mastroianni
This article was originally published on Cleveland.com
by Kevin McLaughlin
Barbara Hannigan, the Canadian dynamo who started singing professionally at 17 and later added separate — though sometimes simultaneous — responsibilities as conductor, has at last made her debut in that role with The Cleveland Orchestra. That she might give soaring accounts of mainstream and contemporary works by Haydn, Strauss Vivier, and Ligeti, was hoped for, even if not surprising, but that she should make such works about mourning, death, and loneliness so compelling and listenable, may be a good reason to have her back.
by Kevin McLaughlin
At 93, the great Cuban vocalist Omara Portuondo knows a few things. She knows the value of her own experience, though she defies her age in stamina and enduring vocal ability. By now physically frail, on November 1 in Gartner Auditorium she was led to her high-backed wicker chair where she ensconced herself to offer a distillation of a lifetime of music-making.
Her quartet of skilled players — José Portillo, piano, Ramses Rodriguez, drums, Lino Piquero, bass, and Degnis Bofill, Latin percussion — were mindful of the honor, though none was old enough to hear the Cuarteto d’Aida from her Tropicana days, or her Batista-era LPs sold to tourists on the Plaza de Armas in Havana. [Read more…]
by Kevin McLaughlin
The sound of an organ in orchestral settings is always an aural thrill. A cornucopia of colors and sonorities on its own, the organ, when mixed with strings, winds, brass, and percussion, more than doubles the pleasure and the fun.
In his welcoming remarks, music director Christopher Wilkins drew attention to the evening’s sonic star and focus — a digital impersonator of sounds, painstakingly prepared by Robert Mollard to sound just like a pipe organ. Putting out fullness and variety, if not always the seismic events associated with cathedral organs, Mollard nevertheless created excitement and beauty in his appearance with the Akron Symphony at E.J. Thomas Hall on Saturday, October 21.
Since the first official work on the program, Coleridge-Taylor Perkinson’s Worship: A Concert Overture, takes as its basis the hymn tune Old 100th (“Praise God from Whom All Blessings Flow”), two bonuses were in store to orient us. Principal flute Barbara O’Brien played the unadorned tune in gorgeous, silvery tones, and Mollard let loose with Robert Hebble’s Toccata on Old Hundredth, a festival of organ prowess.
by Kevin McLaughlin
The Sacred Veil, as one might expect from an hour-long work about death and grief, is not an easy listen. Eric Whitacre’s music, evocative and emotional, makes potent company with Charles Anthony Silvestri’s words, a chain of poems on the loss of his wife Julia Lawrence Silvestri (Julie), who died of ovarian cancer in 2005 at the age of 36. The inclusion of Julie’s own poetry, along with Whitacre’s, increases the impact.
On Friday, October 20 during a performance by The Cleveland Orchestra Chorus, the Severance Music Center audience, perhaps expecting lighter fare, listened closely, though gloomily. Told through particularities — one couple’s experience of early love and childbirth, the young woman’s diagnosis, prognosis, and ultimately her death — Sacred Veil’s power lies in its wider applicability. The words, projected in supertitles above the stage, penetrated the heart; the music sealed the deal.
by Kevin McLaughlin
The Madame Butterfly performed at Detroit Opera last Sunday, October 15, reminded us of this opera’s stubborn beauty. Puccini’s ravishing score, coupled with radiant singing, sparkling sets, and inspired lighting and costumes, overtook potential criticism of its perspectival flaws.
Don’t get me wrong — there is much bigotry and male and racial chauvinism to call out in David Belasco’s play and Giuseppe Giacosa’s and Luigi Illica’s libretto, as well as a lack of agency of the lead. And Detroit’s Japanese and Japanese American artistic team of Matthew Ozawa (artistic director), Kimie Nishikawa (scenic design), Maiko Matsushima (costumes), and Yuki Nakase Link (lighting) did so, but without changing much.
Their version (a co-production with Cincinnati Opera, Pittsburgh Opera, and Utah Opera) leans into the white male fantasy aspect of the story, rather than mitigate or excuse it. [Read more…]
by Kevin McLaughlin
“Celebrating Black Excellence” was CityMusic’s organizing theme for the latest of their 2023-24 season presentations, held at the sound-absorbent East Zion Baptist Church on Thursday, October 19.
You can quibble about how “Black” the program was, with a lineup that included Artie Shaw’s Clarinet Concerto, selections from George Gershwin’s Porgy and Bess, and Manuel de Falla’s Ritual Fire Dance.
But as for “Black excellence,” there was an abundance. Works by Jessie Montgomery, Samuel Coleridge-Taylor, and William Grant Still each sparkled in smart, moving, and inspiring ways. And the three vocal soloists, all current students at Oberlin Conservatory, shone.
by Kevin McLaughlin
Imagine a small band of musicians, each skilled but of dissimilar traditions, combining their talents for a banquet of world styles — Celtic, flamenco, Brazilian, and French — and you have an idea of the artistry of Miguel Espinoza Fusion. Presented at Holy Trinity Lutheran Church in Akron on Sunday, October 8, this was the inaugural concert of Arts @ Holy Trinity’s 40th season.