by Mike Telin
When Griffin Candey first read an English translation of Spanish dramatist Federico García Lorca’s La Casa de Bernarda Alba, he knew the play had the makings for an opera. “My wife suggested that I read it,” the composer said by telephone from his home in Marquette, Michigan. “She went to school for musical theater as did I, and in one of her classes they read the play and thought it was fantastic. I’m always scouring material for things to do in the future, so when I read it, I immediately leapt on it.”
On Friday, February 8 at 8:00 pm in Baldwin Wallace’s Gamble Auditorium, Cleveland Opera Theater’s {NOW} Festival will present a workshop reading of scenes with piano accompaniment from Acts I and II of Candey’s The House of Bernarda Alba with libretto by Obie Award-winner Caridad Svich. The opera is a co-commission between Cleveland Opera Theater and the BW Conservatory.
What is a percussionist? What is a woman? These two questions will be examined on Friday, January 25 at Glo Cleveland, when 
It’s no secret that today’s young musicians easily travel between musical genres. Take the Harlem Quartet, for example, who regularly present programs that combine standard string quartet literature with jazz, Latin, and contemporary works. They have a collaborative approach that broadens their repertoire and audience reach, as well as a commitment to residency activity and educational outreach. That combination makes them a prime example of a model 21st-century chamber music ensemble. 
As a music journalist, I have had many opportunities to have aside conversations with artists about their favorite concert halls. While everyone mentions the acoustic of places like Severance Hall, for example, most add that they can also feel the ghosts that inhabit these storied venues.
