by Peter Feher
When it comes to Handel’s oratorios, another repeat isn’t always a welcome thing. But Apollo’s Fire knows how to make an evening exciting, and the group’s reprise performances of the composer’s Israel in Egypt last week — in a streamlined version first presented by the ensemble in 2017 — kept the intrigue factor high.
Artistic director Jeannette Sorrell adapted the Baroque score with certain modern expectations in mind. Her production retains Handel’s solemn opening, achieving a kind of period authenticity, but jettisons much of the repetition and inessential action in the rest of the music. The result is a lean and engaging dramatic arc — less than two hours — that translates 18th-century entertainment for the 21st century.
The Cleveland Orchestra transformed into the Los Angeles Philharmonic over the weekend. Even if a snowstorm outside suggested otherwise, the program on February 4 at Severance Music Center had the California spirit of experimentation at all costs. The Orchestra had postponed the performance by a day, and lingering bad weather plus the new date meant Friday’s sparse crowd was the committed, brave-it-out type.
On paper, last week’s Cleveland Orchestra concerts might have lacked a little color: two numbered symphonies and a piece of new music with an abstract title. But Thursday’s performance at Severance Music Center under the direction of Franz Welser-Möst came to vibrant life, thanks in part to the sparkling world premiere at the program’s center.
The path to finding an artistic voice might start in music school, but it doesn’t end when you graduate — or even if you become the professor. That process of self-discovery is what connects the five otherwise contrasting pieces on 
“Carols Around the World” doesn’t quite capture the breadth of the Cleveland Chamber Choir’s holiday program. The group sang more than just Christmas music on December 11 at Old Stone Church.
Even the best pianists only share a keyboard in performance with someone they trust. Fortunately for Cleveland audiences, the bond between two players doesn’t get much deeper than the duo of Antonio Pompa-Baldi and Emanuela Friscioni.
“And now for the two notes that changed the course of music history.” Conductor Carl Topilow was half-joking in his introduction to the “Shark Theme” from Jaws, just one of many recognizable movie moments from the Cleveland Pops Orchestra’s “Salute to John Williams” on November 12.
A bit of jazz, and even some rock crept onto saxophonist Gabriel Piqué’s program at Christ Church Episcopal in Hudson on October 31. Although he stuck to mostly classical repertoire in his Music From The Western Reserve recital, those occasional flashes of other genres didn’t seem out of place.
VOCES8 sings a little something for everyone. The British a cappella ensemble had a packed house at E.J. Thomas Hall on October 19, ready for the group’s polished take on any song. The program, the first performance in Tuesday Musical’s 2021–2022 Akron Concert Series, ran from Renaissance music to jazz — styles that don’t intuitively go together.
CityMusic Cleveland has always been on a mission. This season, the group is staying true to its community vision — music for everyone, and concerts for free — even if performances look a little different in 2021. The programming is slimmed down from chamber orchestra to chamber music, and there’s an increased emphasis on new works (each program this season features a world premiere).