by Mike Telin
In Book XIII of Ovid’s epic poem Metamorphoses, we encounter the tale of Ajax and Ulysses and the armor of Achilles, the Fall of Troy, and the pilgrimage of Aeneas. Book XIII also contains the story of the lovers Acis, a mortal shepherd, and Galatea, a sea nymph. But when Acis is killed at the hands of Polyphemus, the jealous Cyclops, Galatea transforms her lover into an immortal river spirit.
This week, Oberlin Opera Theater presents Handel’s Acis and Galatea in Hall Auditorium beginning on Thursday, November 11 at 8:00 pm. Performances continue on Friday and Saturday at 8:00 and on Sunday at 2:00 pm. With a libretto by John Gay, the opera will be sung in its original English. Guest conductor Matilda Hofman leads a cast of seven principal performers, a 16-member chorus, and the Oberlin Orchestra. The opera is presented in two acts with a duration of approximately two hours, including intermission. Click here for tickets.
Originally devised as a one-act masque, Acis and Galatea was premiered in 1718 and by the mid-century, it had been staged more than 70 times. It is also one of the composer’s only staged works to remain popular after his death. In addition to a masque, the work has been described as a serenata, a pastoral opera, and even an oratorio.
The opening of a concert season is always a festive occasion, and there’s a lot to celebrate this year for the Akron Symphony. “We’ve actually emerged from the pandemic stronger in a lot of ways than we went into it,” music director Christopher Wilkins said in a recent interview. On Saturday, November 13 at 8:00 pm, the orchestra will return to E.J. Thomas Hall with a program of works by Dvořák, Perry, Ellington, Price, and Beethoven.
Northeast Ohio’s newest youth ensemble will burst onto the scene on Saturday, November at 7:00 pm at Kent State University, when the Kent State Youth Winds make their debut in Cartwright Auditorium.
On Thursday, November 4 at 7:30 pm The Cleveland Orchestra will welcome the return of guest conductor Jakub Hrůša and welcome cellist Sheku Kanneh-Mason to the Mandel Concert Hall stage for the first time.
It’s good for composers to try writing outside their comfort zone, but some members of the Cleveland Composers Guild are challenging themselves to scale new heights by learning to write for the carillon.
This year and last, Thanksgiving has taken on an additional meaning, something that the Cleveland Chamber Choir will recognize in a free program to open its seventh season on Saturday, November 6 at 7:00 pm at St. Ambrose Parish in Brunswick.
“Creativity is the expression of life, so for me the question is why on earth would you not be creative? Why on earth would you not want to grow?” flutist, composer, improviser, author, teacher, and inventor Robert Dick said during a recent telephone interview. A leader in contemporary flute music, he has redefined the instrument’s musical possibilities. 
A swirl of CIM connections pervades the next program from the school’s New Music Ensemble, starting with the featured guest: Jerod Impichch
Whether it was the passing of his mother in February 1865 or the death of Robert Schumann later that same year, no one is certain what motivated Johannes Brahms to compose his large-scale, non-liturgical Requiem in the German language.
It’s always interesting to hear how musicians come to choose their instruments. Some want to follow in the footsteps of a family member, while others prefer to chart their own path. “What drew me to the saxophone to begin with was my grandma,” Gabriel Piqué said during a recent telephone conversation. “It’s something you never want to hear your grandma say, but I brought one home and she said ‘Gabe, that instrument is sexy.’ I think I was in the 6th grade, and that’s when I decided that I didn’t want to play clarinet or flute, I wanted to play the saxophone.”