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Cleveland Orchestra at the Movies: Final tune builds alongside title character in ‘Indiana Jones’ performance

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by Peter Feher: Cleveland Classical

This article was originally published on Cleveland.com

CUYAHOGA FALLS, Ohio — You’ll definitely want to stick around for the credits at Blossom Music Center this weekend. The Cleveland Orchestra sounds marvelous playing John Williams’ entire score for Indiana Jones and the Raiders of the Lost Ark, but the famous title tune — the “Raiders March,” teased in snippets throughout the movie — doesn’t appear in full until the very end.

It’s one of many theatrical moments that land effectively (and differently than you might remember) in the Orchestra’s presentation of the film live in concert. Only after Indiana Jones finishes his first cinematic crusade does the theme for all his subsequent adventures take true, triumphant shape.

Fortunately, the musicians don’t have to wait until the finale to share in the glory. Williams’ compositions are integral to the universe of Steven Spielberg and George Lucas, and for the 1981 Raiders (directed by Spielberg, based on a concept by Lucas), the score serves as one of the chief storytellers.

[Read more…]

ChamberFest Cleveland: the first taste of “Sacred and Profane” (June 12)

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by Peter Feher

Like any good introduction, opening night at ChamberFest Cleveland this year left you wanting more. The sold-out concert on June 12 at the Cleveland Institute of Music’s Mixon Hall was a chance to savor a little of what the 2024 festival has to offer.

The theme behind this year’s programming, “Sacred and Profane,” was front and center for the first concert. So was the overriding idea that guides ChamberFest every season: bringing together great musicians and great music. Wonderfully, these aims aligned on Wednesday in an arresting performance of Claude Debussy’s Danse sacrée et danse profane featuring harpist Bridget Kibbey. It was the shortest work of the evening, but also the standout.

In exploring the fundamental dichotomy between heaven and earth, eternity and reality, the spirit and the body, Debussy was simply trying to demonstrate everything that a modern harp could do. He had been commissioned by a French manufacturer to write a showpiece for the company’s new instrument, yet the resulting work wasn’t strictly contemporary when it premiered in Paris in 1904.

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Apollo’s Fire: festive, virtuosic Bach (Apr. 26)

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by Peter Feher

Apollo’s Fire resurrected its take on J.S. Bach’s Easter Oratorio over the weekend, returning to this choral masterpiece that the ensemble last presented almost two decades ago.

Performances of the Easter Oratorio don’t exactly abound every year, and the reason is less than straightforward. Staging the work is something of a production, approaching the monumental scale of similar Bach compositions — the Passions, the B-Minor Mass, the Christmas Oratorio — but nowhere near as imposing. This contrast has meant that a great piece of music has sometimes been treated as not quite great enough.

Which is a shame because the Easter Oratorio is one of Bach’s most consistently uplifting scores. [Read more…]

Les Délices: Debra Nagy’s singular, ambitious Four Seasons (Apr. 13)

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by Peter Feher

Most Clevelanders spend at least part of the year wishing they could change the seasons here. But oboist Debra Nagy has actually done it with her ambitious rearrangement of Antonio Vivaldi’s The Four Seasons.

In adapting these familiar violin concertos to the strengths and tastes of Les Délices — her period-instrument ensemble that continues to push historical performance in unexpected directions — Nagy has achieved something singular. [Read more…]

BlueWater Chamber Orchestra: a remarkable program with Kondonassis (Mar. 16)

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by Peter Feher

The Carnival of the Animals is missing a movement. You could easily believe this listening to Koholā Sings, an enchanting new piece by Takuma Itoh, which uses a harp to conjure up the voice of a humpback whale.

In a sensitive solo turn, harpist Yolanda Kondonassis gave the world premiere of Itoh’s work at University Circle’s Church of the Covenant on March 16, joined by BlueWater Chamber Orchestra and conductor Daniel Meyer. Their collaboration was the highlight of a program that was all-around remarkable for its delicate touch.

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Takács Quartet and Marc-André Hamelin at Cleveland Chamber Music Society (Jan. 23)

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By Peter Feher

The Takács Quartet and pianist Marc-André Hamelin put pleasure first in their January 23 performance for the Cleveland Chamber Music Society. In a program that could have been bogged down by questions of national pride and identity, these players instead chose to convey all the charm and character of their repertoire from a cosmopolitan perspective.

Hugo Wolf’s Italian Serenade, the first piece on Tuesday’s concert at Disciples Christian Church, set the tone for the evening. After some initial stiffness, the Takács players warmed up to the romantic atmosphere imagined by this Austrian composer who, in his short life, would never actually visit the Mediterranean.

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Power of three: Yo-Yo Ma, Emanuel Ax and Leonidas Kavakos deliver wonderful interpretation of Beethoven works at Severance Music Center (Feb.1)

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By Peter Feher

Originally published in Cleveland.com

CLEVELAND, Ohio — Most performances of Beethoven’s symphonies at Severance Music Center have the full force of The Cleveland Orchestra behind them.

But last night, pianist Emanuel Ax, violinist Leonidas Kavakos, and cellist Yo-Yo Ma proved that consummate musicianship can power these compositions at any size. The trio played for a sold-out crowd in Mandel Concert Hall on Feb. 1, and between the choice of repertoire and the larger-than-life artistry, it was a chamber recital of symphonic scope.

“Think of us as the Euclid Avenue Philharmonic,” Ax quipped in his introductory remarks from the stage.

[Read more…]

Akron Symphony: adaptable, exceptional (Jan. 13)

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by Peter Feher

The Akron Symphony pulled off an exceptional concert at E.J. Thomas Hall on January 13 that would have stretched any other ensemble to its limit.

Between the different instrumental configurations and the sheer variety of musical styles, there were what sounded like four distinct orchestras onstage Saturday night.

But the Akron Symphony came up with a pragmatic solution that made the performance possible. Music director Christopher Wilkins kept the ensemble small — scarcely more than 30 musicians for the biggest work of the evening. If the orchestra wasn’t exactly out in full force here, this tight-knit group of players nonetheless had all the power and finesse of a seasoned symphonic unit.

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Accent at the Cleveland Museum of Art (Dec. 8)

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by Peter Feher

Accent’s holiday concert at the Cleveland Museum of Art on December 8 was a hometown affair, even if the six members of this all-male a cappella ensemble had collectively traveled thousands of miles to be there.

The audience in Gartner Auditorium on Friday night cheered on bass Evan Sanders, a South Euclid native who, as the group’s lowest voice, has grounded this far-flung collaboration for more than a decade now.

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Marc-André Hamelin at Severance (Nov. 19)

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by Peter Feher

If Marc-André Hamelin had never studied music, he might have become a great novelist instead. At least, that was the impression that the expert Canadian pianist gave during an engrossing solo performance in Reinberger Chamber Hall on November 19.

Hamelin’s program, perhaps the most ambitious entry in The Cleveland Orchestra’s recital series at Severance Music Center this season, offered a master class in sensitive storytelling.

And the narrative brilliance had everything to do with the alchemical mix of performer and repertoire. On Sunday, Hamelin tackled three multi-movement works whose composers shared a couple of important inclinations. They all were good, but not great pianists themselves, and they all wrote programmatic music, or pieces that tell a story. [Read more…]

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