by Rory O’Donoghue
Cellist Brian Thornton explores late chamber works by Debussy and Brahms with creative polish and refined sensitivity on his latest album from Steinway & Sons. Joined in masterful collaboration by a fellow Cleveland Orchestra member, principal clarinet Afendi Yusuf, and the superb pianist Spencer Myer, Thornton pairs Debussy’s 1915 Cello Sonata with Brahms’ 1891 Clarinet Trio, Op. 114, a thoughtful juxtaposition of the composers’ mature styles. [Read more…]
by Timothy Robson
In his spoken introduction before the Cleveland Chamber Choir concert on Sunday afternoon, March 10, Charles Edward McGuire characterized the program as very difficult. The statement was true, but director Scott MacPherson and the Choir gave extraordinary and virtuosic performances of unaccompanied music by three masters of choral music — Johannes Brahms, Andrew Rindfleisch, and Benjamin Britten. First Baptist Church of Greater Cleveland was an ideal location, with resonant but not overly reverberent acoustics that flattered the group’s well-blended sound but didn’t muddy the musical textures. [Read more…]
by Timothy Robson
Despite the lurid title of last weekend’s Apollo’s Fire concerts — Three Duels and a Funeral — no blood was shed onstage at St. Paul’s Church in Cleveland Heights on Friday evening, March 8. The entertaining program concocted by director Jeannette Sorrell was a set of concertos by Johann Sebastian Bach and Antonio Vivaldi, plus a humorous solo cantata by Georg Philipp Telemann eulogizing a talented, but murdered, canary. Each of the works had its own imaginative character. [Read more…]
by Tom Wachunas
Imagine watching a very fine orchestra as it begins to perform the stirring final movement of a symphony. After only a few bars, the violinists abruptly stop playing and start to tune their instruments. Oh, the indignity! Nervous giggles ripple through the audience as the conductor, clearly mortified by such a cacophonous interruption, glares incredulously at his rude ensemble before continuing. [Read more…]
by Daniel Hathaway
Although the indisposition of violinist Patricia Kopatchinskaja deprived Severance Hall audiences last weekend of hearing the concerto that Péter Eötvös wrote in honor of the Columbia astronauts, it provided Spanish pianist Javier Perianes with a second opportunity to solo in Ravel’s G-Major Concerto with The Cleveland Orchestra. [Read more…]
by Daniel Hathaway
Mignarda, the longstanding soprano-lute duo of Donna Stewart and Ron Andrico, doubled its forces at St. John’s Cathedral on Sunday afternoon, February 24 for “Byrd songes,” a program of devotional and liturgical music by William Byrd. By adding José Gotera and Malina Rauschenfels to their roster, Mignarda created a splendid vocal quartet who sang revelatory versions of Byrd’s Mass for Four Voices and Ave verum corpus in the second half of the concert. [Read more…]
by Nicholas Stevens
Concert promoters often confront a dilemma: advertisement demands a level of concision that can reduce a rich, varied program to a name or two and some titles. Undeclared riches might await behind a program labeled, say, “Satie’s Parade.” Wise, then, for the Heights Chamber Orchestra to avoid choosing a descriptive tagline for their most recent concert. So many individual aspects of the performance charmed that to single out one would be to minimize its many surprising delights. [Read more…]
by Rory O’Donoghue
Joyce DiDonato wants you to play with the song, and she’ll tell you why. The multiple Grammy award-winning mezzo-soprano brought a full house to Oberlin College’s Finney Chapel on Wednesday, February 27, backed by an all-star ensemble. The program featured an array of songs from her recent album Songplay, and although moments bordered on theatrical cheese, DiDonato delivered the goods with her signature panache. [Read more…]
by Daniel Hathaway
The superb London-based Doric String Quartet brought both musical and equipment surprises to their riveting performance on the Oberlin Artist Recital Series in Finney Chapel on February 22. Period bows came out not only for the opening Haydn quartet but also for the concluding Mendelssohn, lending extra flexibility to the former and an unusual suppleness to the latter. And Britten’s String Quartet No. 3 enjoyed an extra dollop of authenticity through Hélène Clément’s viola, an 1843 instrument by Giussani that had been gifted by Frank Bridge to Britten — his star pupil — just before the composer had sailed off to the United States. [Read more…]
by Mike Telin
The creation of new opera is a passion of Scott Skiba, Cleveland Opera Theater’s executive artistic director. And earlier this month Skiba and his company brought that passion to life during the third annual {New Opera Works Festival}, which was held at Baldwin Wallace Conservatory from February 4 through February 9. From the beginning, {NOW} has included partnerships with area music institutions — this year’s the Festival involved collaborations with Baldwin Wallace, Bowling Green State University, the Cleveland Composers Guild, Hiram College, and Oberlin. [Read more…]