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ChamberFest Cleveland celebrates season finale on the dance floor (June 29)

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by Stephanie Manning

After a whirlwind three weeks of concerts, ChamberFest Cleveland ended this year’s season with a dance party. And not just any dance party: Aaron Jay Kernis’ joyfully eccentric 100 Greatest Dance Hits, which fully embodies the thematic mix of “Sacred and Profane.”

But while the Kernis gives classical forms an injection of the profane — the music associated with the here-and-now, our day-to-day life  — the June 29 program also reveled in the traditionally sacred. It opened with J.S. Bach’s dignified Concerto No. 1 in d, played in a combination that swapped harpsichord for piano and traded a string orchestra for a quartet, plus bass.

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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.

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ChamberFest Cleveland: “Night Moves” at Disciples Church (June 28)

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by Kevin McLaughlin

It was nice to finally hear one of ChamberFest Cleveland’s “Sacred and Profane” concerts (“Night Moves” on June 28) in a religious setting — Disciples Church in Cleveland Heights — since it helped the “sacred” music resonate (in more ways than one). As the home of the Cleveland Chamber Music Society’s concerts, it’s a well-loved space to experience chamber music.

It turns out, though, you don’t necessarily need a church — or even voices — to convey the spirituality of the opener, Palestrina’s 1572 motet, Dominus Jesus in qua nocte.

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Take 6 opens Tri-C JazzFest 2024 (June 20)

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by Max Newman

If there’s anything to be said about legendary acapella sextet Take 6, it’s that the group has most certainly still got it. This was apparent on the evening of June 20 as the ensemble took the stage at the Mimi Ohio Theatre at Playhouse Square. The concert was the perfect introduction to Tri-C JazzFest Cleveland 2024, with a timeless musical performance and an incredible level of energy to boot.

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ChamberFest Cleveland: a four-course meal during “Innocence and Experience” (June 26)

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by Stephanie Manning

ChamberFest Cleveland’s June 26 concert had stiffer competition than usual, with The Cleveland Orchestra simultaneously performing for Wade Oval Wednesdays right down the street. But you wouldn’t have known it from the packed house that filled Mixon Hall that evening at the Cleveland Institute of Music.

The program, titled “Innocence and Experience,” marked the long-awaited festival debut of guitarist Jason Vieaux. (Although the venue was no doubt familiar to him — he’s taught at CIM since 1997.) Vieaux and his fellow musicians kicked off the program with Luigi Boccherini’s Guitar Quintet No. 4 in D, a lively piece with the subtitle “Fandango.”

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ChamberFest Cleveland: Lost in Paradise (June 21)

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by Kevin McLaughlin

The theme of the June 21 ChamberFest concert may have been “Paradise Lost,” but the performances and repertoire were of such high caliber, there was nowhere you would rather have found yourself.

A joyful noise opened the concert. J.S. Bach’s Jauchzet Gott in allen Landen featured soprano Sarah Shafer and trumpeter Brandon Ridenour in a sparkling account of the cantata Bach liked so much that he designated it as suitable for performance “in ogni tempo” — at any time.

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ChamberFest Cleveland: “Rite of Spring” on the summer solstice (June 20)

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by Kevin McLaughlin

On June 20, the day when the two warm seasons join, ChamberFest Cleveland put on a program that was more about springtime than summer.

Titled “Rite of Spring” — for Stravinsky’s ballet and the stem-winder of an arrangement for two pianists and two percussionists that ended the concert — tonight’s program was distinctly light in mood, including silly songs by Bernstein and P.D.Q. Bach, a couple of tearjerkers by Dvořák and Kurt Weill, and dance music by HK Gruber and Martinů.

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ChamberFest Cleveland: transporting listeners into “Other Worlds” (June 22)

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by Stephanie Manning

Hearing the Beatles’ “Eleanor Rigby” was not on my ChamberFest Cleveland bingo card. But Brandon Ridenour had other ideas.

“Antonio Vivaldi was the Paul McCartney of his time,” the trumpet player told the audience at the festival’s June 22 concert. Accompanied by string quartet, Ridenour brought his arrangements of both the Beatles and the Baroque to the program — titled “In Other Worlds” — and made a pretty strong case for the connection between 18th-century opera and 1960s pop.

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ENCORE: “Director’s Carte Blanche” at Oberlin (June 14)

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by Max Newman

This year’s ENCORE Music & Ideas Festival, themed around “Planet Earth,” graced the Cleveland area with some brilliant performances over the course of this month. One of those came on the evening of June 14, when Oberlin Conservatory played host to the series. 

Violinist and founder Jinjoo Cho, violinist Mathieu Herzog, and pianist Hyunsoo Kim starred in a terrific performance at Warner Concert Hall. The event also featured a conversation with Chris Stanton, the Senior Naturalist at Lorain County Metro Parks, which perfectly served ENCORE’s season theme as an ode to the natural world.

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Ohio Light Opera: everything free and easy at Me And My Girl (June 20)

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by Stephanie Manning

Not only is it a challenge to walk out of Me and My Girl without the music stuck in your head, it’s also a challenge to pick which of the many songs you might be humming.

The charming, feel-good 1937 musical — with music by Noel Gay and book/lyrics by Douglas Furger & L. Arthur Rose — may not be much of a household name these days. But after its original success in London’s West End, a revised book by Stephen Frey and Mike Ockrent in the 1980s made the show a huge hit across the pond on Broadway. And the Ohio Light Opera’s dazzling premiere makes it easy to see why.

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