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The Cleveland Orchestra’s Messiah: a conversation with soprano Liv Redpath

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By Mike Telin

“One of my favorite things to do is to sing with the Cleveland Orchestra,” soprano Liv Redpath said during a telephone conversation. “There’s really no better orchestra — it’s kind of freakish how great they are.”

On Thursday, December 4 at 7:30 at Severance Music Center, Redpath will join her solo quartet colleagues — countertenor Tim Mead, tenor Andrew Haji, and bass-baritone Philippe Sly — when Bernard Labadie leads The Cleveland Orchestra and Chorus in Handel’s Messiah. The program will be repeated on Friday and Saturday at 7:30 pm. Tickets are available online.

Redpath looks forward to once again working with Labadie, who she said brings a great balance to classical and Baroque music. “Bernard has a huge heart and passion for this music and making it alive. But behind that is a deep knowledge of the structure that makes the music tick like a really beautiful Swiss clock. I’m excited to once again sing with The Cleveland Orchestra, but I have not performed with them together with Bernard, so that’s going to be a treat.”

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Cleveland Orchestra Youth Orchestra: a conversation with James Feddeck

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by Mike Telin

“I’ve always had a special place in my mind and in my heart for The Cleveland Orchestra Youth Orchestra,” James Feddeck said during a Zoom conversation. “These young people are so exceptional — they humble me.”

On Friday, November 21 at 8:00 pm, James Feddeck, who served as COYO’s music director for four seasons from 2009-2013, will return to Severance Music Center to lead the ensemble in a program that includes his own suite from Prokofiev’s ballet Romeo and Juliet, and César Franck’s Symphony in D minor. Tickets are available online.

Feddeck, who is currently serving as principal conductor and musical advisor of The Cleveland Orchestra Youth Orchestra, said that he chose Romeo and Juliet because it is a compelling story. “I’ve selected several movements and different sections from Prokofiev’s full ballet to create a suite that’s about a half hour long. What’s appealing about it is the color and the energy that is in the music. There is literally something colorful and virtuosic for every section of the orchestra to play.”

Feddeck said that while the Prokofiev is a great exploration of rhythm, Franck’s Symphony is a beautiful exploration of sound. “It’s a thick orchestration, so it gives the players an opportunity to work on their tone quality, articulation, and blending — creating a sense of ensemble.”

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Duo Noire: Thomas Flippin & Christopher Mallett return to Cleveland

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by Mike Telin

When selecting works for a program, classical guitarists Thomas Flippin and Christopher Mallett are always asking themselves if they are being inclusive —  are they including works by composers who are not usually represented on classical guitar concerts.

On Saturday, November 15 at 7:30 pm at the Maltz Performing Arts Center, the adventurous Duo Noire will return to the Cleveland Classical Guitar Society’s International series with a program that will include three world premieres along with other recent commissions and arrangements of music by J.S. Bach, Nathaniel Dett, Domenico Scarlatti, Astor Piazzolla, Justin Holland, and Thomas Flippin. Tickets are available online.

“What’s cool about this program is that we have new pieces by a Middle Eastern jazz fusion composer, a film composer, and a jazz pianist who does weird stuff with 8-bit video game music on his albums,” Thomas Flippin said during a Zoom conversation with his duo partner. “All of that is really interesting to us.”

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Robert Walters to give U.S. premiere of Geoffrey Gordon’s Mad Song

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by Mike Telin

“This is a great piece of music that just happens to be an English horn concerto,” Robert Walters said during an interview. “I’m excited about playing it because I think the audience will like it as much as I do.”

On Thursday, November 13 at ​​7:30 pm at Severance Music Center, Robert Walters, Cleveland Orchestra solo English horn, will give the U.S premiere of Geoffrey Gordon’s Mad Song. Under the direction of Tugan Sokhiev, the concert also includes Mahler’s Sixth Symphony. The program will be repeated on Friday and Saturday at 7:30. Tickets are available online.

Written in 2020, Gordon’s Mad Song was commissioned for Dimitri Mestdag, the solo English horn of the Antwerp Symphony Orchestra. When the composer contacted Walters about giving the U.S. premiere of the concerto, Walters paused. “I’d heard Geoffrey Gordon’s name — he’s the guy who writes a lot of concertos. He told me that everyone says that I’m the guy to talk to about that. And I said, I’m flattered. I’ll give it a listen.”

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No Exit opens season with “American Descent” at Praxis Fiber Workshop (Oct. 25)

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by Mike Telin

There was not an open seat to be had at Praxis Fiber Workshop on Saturday, October 25 when the adventurous new music ensemble No Exit began their 17th season with a program of four thoroughly engaging works.

As a prelude to the program, James Rhodes presented two movements from Garth Knox’s Viola Spaces, a collection of eight etudes each of which focus on an extended technique.  

No. 2, “Ghosts,” examines the technique of sul tasto — on the fingerboard. Beginning with a pitchless bowing on the strings, Rhodes brilliantly produced spooky, breathy, brushing sounds.  In No. 6, “Harmonic Horizons,” Rhodes took listeners on a tour of the instrument’s harmonic series. Here he produced an interesting mix of straight-tones, double-stops, trills, and slides in every register of the viola.

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CIM Opera Theater presents Suor Angelica & Gianni Schicchi

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by Mike Telin

When Giacomo Puccini composed the three one-act operas that make up Il trittico (The Triptych), he intended for them to be presented as a set. But not long after the work was premiered at the Metropolitan Opera on December 14, 1918, the composer’s publisher began to receive requests for them to be performed separately. Nowadays, it is common for one or two of the operas to be presented in an evening.

On Friday, November 7 at 7:30 pm and Sunday November 9 at 3:00 pm in Kulas Hall, CIM Opera Theater will present Puccini’s Suor Angelica and Gianni Schicchi. Dean Southern directs and Harry Davidson leads the CIM Orchestra. Tickets are available online.

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Apollo’s Fire to premiere Mozart’s Requiem: A Tapestry

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by Mike Telin

For 234 years musicians have struggled with the question of how to perform Wolfgang Amadé Mozart’s Requiem, a piece that he left unfinished at the time of his death in 1791. Although his widow arranged for his student Franz Xavier Süssmayr to complete the work, many have found that version to be unsatisfactory.

In a press release Apollo’s Fire artistic director Jeannette Sorrell said, “As I pondered how to honor the legacy of Mozart’s unfinished Requiem, I found myself reflecting on voices that were silenced or overshadowed by the culture of that time. These voices speak to us profoundly today, as the world teeters on a precipice in so many ways. So, to complete the Requiem, I chose eight movements from sacred-inspired works by living Black composers. In this way, we pay homage to Mozart by honoring the humanity within us all.”

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Poiesis Quartet returns to Oberlin

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by Mike Telin

Since forming at Oberlin Conservatory in the fall of 2022, The Poiesis Quartet have enjoyed a meteoric rise in the ranks of professional string quartets.

In 2023, the Quartet won the Gold Medal and BIPOC Prize at the St. Paul String Quartet Competition and the Grand Prize and Lift Every Voice Prize at the Fischoff National Chamber Music Competition.

In May 2024, they joined the roster of Concert Artists Guild and last August were named First Prize and Commission Prize winners at the 2025 Banff International String Quartet Competition. The Poiesis are currently the Graduate Quartet-in-Residence at the University of Cincinnati College-Conservatory of Music.

On Friday, October 31, violinists Sarah Ying Ma and Max Ball, violist Jasper de Boor, and cellist Drew Dansby will return to their alma mater to be featured in John Adams’ Absolute Jest with the Oberlin Orchestra. Directed by Raphael Jiménez, the program at 7:30 pm in Finney Chapel also includes Carlos Simon’s Fate Now Conquers, Angelica Negrón’s Campos Flotantes, and Zhou Tian’s Transcend. The concert is free.

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Garrick Ohlsson returns to the Severance Music Center stage

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by Mike Telin

“The thing about playing Mozart concertos, especially with a great orchestra like Cleveland, is that when it goes well, it will leave me on such an adrenaline high I may not be able to sleep,” pianist Garrick Ohlsson said during a recent telephone conversation.

On Thursday, October 30 at 7:30 pm, Garrick Ohlsson will join Franz Welser-Möst and The Cleveland Orchestra at Severance Music Center for a performance of Mozart’s Piano Concerto No. 23.

“Like Shakespeare, Mozart can find the appropriate way to express the full range of human emotions. He can write the saddest music and the happiest music. He can write an aria for a servant who’s upset because she’s lost a pin. But unlike a 19th century composer, he doesn’t lay it on thick, he doesn’t do what the English call making heavy weather of it.”

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No Exit opens season with “American Descent”

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by Mike Telin

The adventurous ensemble No Exit begins their 17th season this week with a variety of works that reflect on the unprecedented times in which we are living.

On October 23 at 7:00 pm in Ludwig Recital Hall at Kent State University, No Exit will present “American Descent.” The set list includes Garth Knox’s Viola Spaces, Geoffrey Burleson’s Cryptic Locomotion (premiere of 2025 version), June Young Will Kim’s After days of rain, construction fills the air, and Andrew Rindfleisch’s American Descent (world premiere).

The program will be repeated on Saturday, October 25 at 7:00 pm at Praxis Fiber Workshop. Both performances are free.

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