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Jukka-Pekka Saraste returns to Cleveland with “Beethoven’s Fateful Fifth”

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by Mike Telin

After presenting two concerts at New York’s Carnegie Hall on the 20th and 21st of January, The Cleveland Orchestra then headed south for their Florida residency. And on Friday, February 9 at 7:30 pm, they will return to their home base of Severance Music Center to present the first of three performances of Schubert’s Symphony No. 6 and Beethoven’s Symphony No. 5. The program will be repeated on Saturday at 8:00 pm and Sunday at 3:00 pm. Tickets are available online. [ALL PERFORMANCES ARE SOLD OUT]

This week also marks the long-awaited return of Finnish conductor Jukka-Pekka Saraste. “It’s a pleasure to come back to Cleveland. It’s been a while — my last time was when I was in Toronto [as music director of the Toronto Symphony] — so it must have been about 20 years ago,” he said during a Zoom conversation from his home in Helsinki.

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No Exit: Piano Dada at Cleveland Museum of Art

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by Mike Telin 

This week No Exit will continue their season-long multifaceted exploration and celebration of Surrealism on February 9 at 7:30 pm in Gartner Auditorium with “Piano Dada.” The free concert takes an entertaining dive into the realm of dreams, the irrational, the unconscious and the inexplicable.

“We’re very excited about this concert because it is our Cleveland Museum of Art debut,” No Exit’s artistic director Timothy Beyer said during a telephone conversation.

The program will include five works for solo piano performed by Shuai Wang — Francis Picabia’s La Nourrice Américaine (fast) and La Nourrice Américaine (slow), Darius Milhaud’s Caramel Mou, Georges Auric’s Adieu, New York!, and E.L.T. Mesens’ Drie Composities Voor Klavier — as well as a video of Tristan Tzara’s Dadaist Anthem.

Beyer noted that with the exception of Milhaud, Picabia, Auric, Mesens and Tzara were not composers per se. “They were artists. But these are great pieces that represent the beginning of avant-garde conceptualized music, which is prevalent today — John Cage took his cues from the Dadist’s playbook.” [Read more…]

Fourth Year Soprano Elizabeth Hanje Wins Houston Grand Opera’s Eleanor McCollum Competition

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The operatic singer emerged from 900 international applicants.

by Cathy Strauss

Reposted courtesy of Oberlin College and Conservatory

After an exhaustive international search and multi-round competition, Oberlin Conservatory fourth-year soprano Elizabeth Hanje has won first prize and $10,000 at the 36th Annual Eleanor McCollum Competition for Young Singers. Hanje is a student of Professor Salvatore Champagne.

While this is a highly anticipated vocal competition, the event also serves as a job interview for the Sarah and Ernest Butler Houston Grand Opera Studio, one of the world’s most prestigious operatic training programs for young artists. Each of the young artists in the Studio has access to regular coaching sessions with industry professionals, roles in Houston Grand Opera (HGO) mainstage productions, recital performances, and other concert engagements. HGO is one of the largest, most innovative, and most highly acclaimed opera companies in the United States.

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Linking Legacies to perform at CMA, Oberlin & TMS: celebrating Black performers & composers with local ties

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by Jarrett Hoffman

Think of the people from the past who lived in your town, crossing the same crosswalks, pushing open the same doors as you. Or, as the thought occurred to violist Chris Jenkins and pianist Dianna White-Gould, performing in the same room as them.

Collaborating in a piece by H. Leslie Adams in January 2020 for a concert at The Music Settlement honoring Martin Luther King, they realized that White-Gould’s parents — composer-pianist Dolores White and cellist Donald White — had performed together as a duo decades earlier in the very same space.

More ties came to mind between past and present, time and place. “We thought, it’s so interesting to be here,” Jenkins (pictured) said during a recent interview over Zoom. “Leslie is here, and Dianna’s parents have played in this space, and we’re here now. Leslie and Dianna went to Oberlin, and her mother went to Oberlin and CIM, and I work at Oberlin.” (Jenkins is the Associate Dean for Academic Support, Visiting Assistant Professor of Musicology, and Liaison to the Office of Equity, Diversity, and Inclusion). “All those connections — it was so interesting.”

The thought of those connections led to the creation of Linking Legacies, a chamber collective headed up by Jenkins that features multiple generations of African American classical musicians performing classical works by African American composers — with a focus on deep ties to the area for both performers and composers.

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Oberlin’s Artist Recital Series Sets the Stage for a Gospel Experience

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by Stephanie Manning
Reposted courtesy of Oberlin College and Conservatory

Trey McLaughlin & The Sounds of Zamar blur the boundaries of genre with contemporary gospel arrangements. Their latest tour, “The Zamar Experience,” arrives in Oberlin February 10 for a community workshop and concert on the Artist Recital Series in Finney Chapel.

For Trey McLaughlin, each and every rehearsal is the creation of something special.

“It’s where  the magic first happens, you know,” says the vocalist and director. “It’s that moment where you’re starting a new piece and you’re starting to hear what it could be.”

For McLaughlin, who has been singing since age four, his love for rehearsing started early. “I would line up my mom’s perfume bottles on her dresser, or my toys, or anything that would stand, and I would have choir rehearsal,” he says. A CD recording would serve as the finished product. But that was almost an afterthought—his favorite part was the teaching.

The singer and arranger is leading plenty of rehearsals these days thanks in part to his touring group, Trey McLaughlin & The Sounds of Zamar. The contemporary gospel choir will take their latest show around the U.S. and Canada this February, stopping in Oberlin for the first time. Their February 10 performance in Finney Chapel is part of the 2023-24 Artist Recital Series. [Read more…]

Taking Up Serpents: Fire-and-brimstone at BW

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by Mike Telin

In her 2023 article “The History of Snake Handling in Religion,” published in Grunge, Sarah Crocker writes, “According to National Geographic, [the practice] is now most often understood as a uniquely American religious observance, typically practiced in rural Appalachian churches that are associated with Pentecostal Christians and other charismatic Protestant denominations.”

On Friday, February 2 at 8:00 pm in the Kleist Center for Arts & Drama, Baldwin Wallace Opera will present Taking Up Serpents. With a score by Kamala Sankaram and an original story inspired by librettist Jerre Dye’s roots in the Deep South, the opera tells the story of 25-year-old Kayla, the estranged daughter of a fire-and-brimstone preacher who is dangerously bitten by one of his own snakes. Kayla’s journey home forces her to confront her troubled upbringing.

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CIM Opera Theater to present Glory Denied: a conversation with director Kathryn Frady

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by Mike Telin

After serving their country, many veterans are faced with multiple challenges as they re-adjust to civilian life. At the top of that list is reconnecting with and re-establishing a role in the family and in society. These issues will be addressed this weekend when the Cleveland Institute of Music presents Tom Cipullo’s Glory Denied on Saturday, January 27 at 3:00 pm at the Cleveland Museum of Art’s Gartner Auditorium. The production will be repeated on Sunday, also at 3:00 pm. Tickets are available online.

Based on the book by Tom Philpott, the two-act, 80-minute chamber opera tells the true story of Jim Thompson, the longest-held prisoner of war in U.S. military history, as he tries to re-assimilate into American life after spending nine years behind enemy lines in Vietnam.

“Glory Denied is undeniably one of the most performed American operas of our time,” guest stage director Kathryn Frady said by telephone. “Companies everywhere are doing it.”

[Read more…]

CUSP: Dick & Haluska redefine instruments at Crop Circles CD release party 

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by Max Newman

“We kind of wanted to explore the more aesthetically non-traditional approaches to playing our instruments.”

This was how harpist Stephan Haluska described his main musical goal on his album Crop Circles, made in collaboration with visionary flutist Robert Dick and released on January 19. The album’s release will be celebrated on Friday, January 26 at 8:00 pm at the Convivium 33 Gallery, when Dick and Haluska will be joined by the Max Hyde-Perry Ensemble in a presentation by the Cleveland Uncommon Sound Project.

“Honing into the weirder approaches to what we can get out of a flute and harp duo was, conceptually, the only thing we wanted to do going into this. Everything is improvised,” Haluska said during a recent telephone conversation.

This largely reflects Haluska’s own musical goals. Throughout his career, he has strived to push the boundaries of what the harp can do.

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Cleveland Composers Guild: A conversation with Collegiate Competition Winner Gracelyn Jack

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by Sicily Xiao

Gracelyn Jack, a student at the College of Wooster, won the 2024 Cleveland Composers Guild Collegiate competition with her chamber work Less Than Ten Days, which will have its public premiere in a concert presented by the Cleveland Composers Guild on Sunday, January 21, at 3:00 p.m. at Fairmont Presbyterian Church.

The program will also include works by Guild members Ty Alan Emerson, Karen Griebling, Inna Onofrei, Matthew C. Saunders, Ryan Charles Ramer, and Chris Neiner.

I recently met up with Jack on Zoom to learn more about her and her work.

Sicily Xiao: How did you first become interested in composition?

Gracelyn Jack: I played the clarinet in the symphonic band all through middle and high school and am still in the symphonic band in college.  I loved how band pieces fit together and how they worked. I thought that it would be cool to write some of my own stuff. As I got more into writing music, I began to infuse my own emotions and discovered that I love communicating my personal experiences through music.

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Modern Italian folk group Alla Boara celebrates new album at CMA

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by Mike Telin

While earning his bachelor’s degree in music performance from the School of Jazz at The New School in New York City, percussionist Anthony Taddeo was tasked with writing a paper, and his search for a topic led him to the New York Public Library. There he stumbled across a little-known archive of field recordings made by the folklorist Alan Lomax during a sojourn in Italy.

“My dad being from Italy, I thought that writing about Italian folk music would be a cool way to kind of dig into my roots,” the Cleveland native said during a recent conversation.  “I was absolutely dumbfounded by how beautiful and diverse the music was. I was so impacted by that — it was the first time I felt like my heritage and my profession collided. So I made a mental note to figure out some way to bring recognition to this beautiful art form.”

After completing a master’s in composition at Youngstown State University, touring North America and Europe, and being featured on over 30 albums, Taddeo decided to turn to the Italian folk music he had fallen in love with as an undergraduate.

[Read more…]

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