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Taplin Quartet journeys to Heights Arts and beyond for debut (Feb. 8)

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by Peter Feher

The Taplin Quartet, Cleveland’s newest chamber ensemble, gave its first local performance this month — and at the same time traveled to Europe, Asia, and Oceania. In fact, the group’s world tour brought along the entire audience at Dunham Tavern in Midtown on Sunday afternoon, February 8.

“From East to West,” the Quartet’s debut program — presented as part of Heights Arts’ Close Encounters concert series — took listeners on a musical trek across three continents while never straying too far from home.

It helped to be embarking with four familiar guides. Violinists Katherine Bormann and Zhan Shu, violist Gareth Zehngut, and cellist Martha Baldwin are all Cleveland Orchestra members, and together as the Taplin, they have the advantage of a shared starting point.

The skills essential for great orchestral playing — rhythmic precision, interpretive clarity, and a quick ability to adapt — were also what kept the Quartet confidently on course during Sunday’s performance.

[Read more…]

Manacorda, Cleveland Orchestra magic leaves nothing ‘Unfinished’ at Severance (Feb. 5)

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by Peter Feher
This article was originally published on Cleveland.com

CLEVELAND, Ohio — Classical musicians have exhausted just about every attempt to complete Franz Schubert’s “Unfinished” Symphony in the two centuries since the composer’s death at age 31.

But the Cleveland Orchestra doesn’t give in easily to creative despair. With guest conductor Antonello Manacorda, the ensemble has fashioned an effective, elegant substitute for the “missing” movements of Schubert’s score.

[Read more…]

Christmas with Cantus at Tuesday Musical (Nov. 30)

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by Peter Feher

Tuesday Musical gave Akron audiences a generous Christmas gift this year. The presenter tied three holiday classics together in one sumptuous concert on Sunday afternoon, November 30, at E.J. Thomas Hall. First up was the story of The Velveteen Rabbit, followed by a quick waltz through The Nutcracker and a ride on The Polar Express.

Delightfully, this trio of tales was recounted with drama and poise — not by any actors or dancers but by the eight members of the all-male a cappella ensemble Cantus. The group, based in Minnesota and now in its fourth decade, is once again touring the country with a polished, compact production of carols, pop tunes, and of course Tchaikovsky.

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Oberlin Music Theater soars in The Great Comet of 1812 (Dec. 3)

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by Peter Feher

The stars aligned for Oberlin Music Theater’s production of Natasha, Pierre & The Great Comet of 1812, suggesting a bright future for the college’s newest area of study.

Oberlin Conservatory has cultivated young talent for more than 150 years, but musical theater only entered the curriculum this semester. The program’s first students arrived in the fall under director and professor Victoria Bussert, who brought with her several colleagues from Baldwin Wallace University — including a few who collaborated on her 2023 staging of Great Comet for Cleveland’s Great Lakes Theater company.

Even for the experienced, this show is a massive undertaking, with a story adapted from Leo Tolstoy’s War and Peace and a score demanding stamina and stylistic range. But nothing daunted the student actors on opening night, December 3. Not the immersive direction by Bussert, nor the energy-intensive choreography by Alex Sanchez. (Two casts alternated in eight performances through December 10.)

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Les Délices’ elaborate, entertaining Aesop Project (Nov. 22)

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by Peter Feher

In the 1670s, Louis XIV commissioned a series of 39 fountains for the Gardens of Versailles, each modeled on a story from Aesop’s Fables and intended for the education of the king’s young son, the Dauphin.

The Aesop Project, the latest community offering from Les Délices and artistic director Debra Nagy, is slightly less ornate but just as inspired. Cleveland’s ever-resourceful period chamber ensemble partnered with local puppeteers and poets for this family-friendly program teaching music and morals.

After touring Northeast Ohio schools earlier in the week, the project received a public performance at the CMA Community Arts Center on Saturday morning, November 22. Children, parents, and committed patrons of early music sat down for the 35-minute show, surrounded by spectacular displays of costumes and props from the Cleveland Museum of Art’s annual Parade the Circle celebration. [Read more…]

Akron Symphony goes for glory in Handel’s Messiah (Nov. 15)

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by Peter Feher

The holiday season got off to an early start at E.J. Thomas Hall over the weekend, with the Akron Symphony and Chorus reveling in a performance of Handel’s Messiah.

In truth, it’s tradition for this great oratorio — which embraces the New Testament theme of Jesus as savior — to arrive ahead of schedule. Handel intended the work to be presented each year during Lent, when theaters were otherwise closed and only entertainment of the most ennobling character was allowed. But in the centuries following its 1742 premiere, Messiah crept up the concert calendar to become a Christmas favorite.

Never mind that the famous “Hallelujah” Chorus comes from Part 2 of the oratorio, which recounts Christ’s death and resurrection. Part 1 includes the Nativity, and it was to this opening section that the Akron Symphony and music director Christopher Wilkins devoted themselves on Saturday, November 15.

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

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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.

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Pianist Daniil Trifonov brings Brahms’ vision to life with Cleveland Orchestra (Oct. 9)

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by Peter Feher

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Johannes Brahms took more than two decades to compose a follow-up to his First Piano Concerto, but audiences at Severance Music Center have only had to wait two years for the sequel.

Pianist Daniil Trifonov is back with The Cleveland Orchestra this week, tackling Brahms’ monumental Second Concerto after playing the First here in 2023. And in a neat pairing, Music Director Franz Welser-Möst has programmed Sergei Prokofiev’s Seventh Symphony as the companion piece — the Sixth having accompanied Trifonov on his previous appearance.

Reversing the usual performance order (soloist on the first half, big symphonic work on the second), Brahms was the main event after intermission Thursday in Mandel Concert Hall. It’s a sensible way to present a piece that often resembles a symphony in style, scope and sheer impact.

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James Ehnes and Orion Weiss open Cleveland Chamber Music Society season (Sept. 16)

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by Peter Feher

If James Ehnes ever decided to launch a fan club, one of the first chapters would undoubtedly be formed in Northeast Ohio.

The esteemed Canadian violinist has made occasional concerto appearances with The Cleveland Orchestra over the years, but local audiences have come to know him best through chamber performances that offer an unparalleled experience of his artistry.

This feeling of intimate familiarity united Ehnes and an enthusiastic crowd at Disciples Christian Church on Tuesday, Sept. 16, for the opening concert of the Cleveland Chamber Music Society’s 2025–26 season. [Read more…]

Apollo’s Fire: “Fencing Match: Round One” (Aug. 9)

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by Peter Feher

Before the sound of armed conflict came to dominate classical music in the 20th century — think of the skittering strings or machine-gun rattle of snare drums in Dmitri Shostakovich’s symphonies — combat didn’t always mean life or death.

Among the aristocracy of 18th-century Europe, the clinking of swords was a cultivated pastime, an art on par with, say, practicing an instrument.

And that’s the spirit with which Apollo’s Fire took the stage at Case Western Reserve University’s Harkness Chapel on Aug. 9 for “Fencing Match: Round One.” The ensemble plans to reprise the program on tour next year, with this summer’s series of concerts serving to sharpen the players’ skills.

Only a few moments during Saturday afternoon’s performance needed that extra bit of fine-tuning. Much of the repertoire was right in the sweet spot for Cleveland’s Baroque orchestra, centering on well-known classics as well as a couple of signature pieces from the Apollo’s Fire canon. [Read more…]

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