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Re•Views

Klezmer and Kreutzer 
with CityMusic (Mar. 16)

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by Stephanie Manning

Most clarinetists are no strangers to playing on all the different varieties of their instrument. But using three of them over the course of just one piece? That’s a little more unusual.

On March 16, Daniel Gilbert sat facing a packed crowd at the Temple Tifereth-Israel with a B-flat, A, and bass clarinet all laid out in front of him. The work he was about to embark on with conductor Joel Smirnoff and the CityMusic Cleveland Chamber Orchestra was also a little unusual — but in a very intriguing way.

[Read more…]

CIM Opera Theater: Dialogues des Carmélites (Mar. 5) 

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by Daniel Hathaway

CIM opera theater presented Francis Poulenc’s Dialogues des Carmélites in Kulas Hall at the Cleveland Institute of Music twice earlier this month in a production directed by JJ Hudson with Harry Davidson and the CIM Orchestra in the pit. I attended the matinee performance on Sunday, March 5.

A theater piece based on such a true story — the mass execution of a convent of Carmelite Nuns at Compiègne during the Reign of Terror in the French Revolution — may seem an odd choice for a student production, but in practice, the piece is a gift for opera departments like CIM’s that are long on female voices.

The dark and serious subject matter may also seem an odd choice for the composer, whose musical style frequently leans toward the popular and theatrical (think of the ending of the “Laudamus te” from his Gloria, where the music seems about to morph into a Cha-Cha!).

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Cleveland Classical Guitar Society: Brasil Guitar Duo (Mar. 11)

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by Kevin McLaughlin

On Saturday evening, March 11 at Plymouth Church, the Cleveland Classical Guitar Society welcomed João Luiz and Douglas Lora, the Brasil Guitar Duo, after a four-year absence from the series.

As is customary for CCGS concerts, the evening began with a student performer. Daziel Pérez Pagán, 17, performed two short pieces. The first, written by Pagán himself when he was sixteen, was a lovely reflection called Rewoken. The second, River Flows in You, a work originally for piano by the Korean composer Yiruma and transcribed by Pagán, was beautifully played.

The Brasil Guitar Duo opened their recital with Piazzolla’s lively and sweet tango, Zita, named for the wife of Aníbal Troilo, the composer’s mentor and friend. Immediately the guitarists demonstrated warmth and technical control, qualities that remained throughout the evening.

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Apollo’s Fire: Music of the Jewish & African Diasporas (Mar. 8)

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by Kevin McLaughlin

Who doesn’t love an Apollo’s Fire concert? Jeannette Sorrell and troupe always seem to offer a festival for the eye and ear — thoughtful thematic programs, all-out committed musicianship, and infectious exuberance. Wednesday’s program at Bath Church UCC was all this and more.

The third in a triptych of Jewish-themed programs titled “Exile and Resilience,” this one — thoughtfully conceived and researched program by Sorrell — offered seven perspectives on Jewish and African exile.

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“Viva Latina!” —
BlueWater Chamber Orchestra (Mar. 4) 

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by Kevin McLaughlin

Accordionist Hanzhi Wang held the Church of the Covenant audience in thrall on March 4 as she demonstrated mastery of the wild marvel that is her instrument in a performance of Piazzolla’s Bandoneon Concerto. The BlueWater Chamber Orchestra and conductor Daniel Meyer provided able accompaniment there, as well as lovely accounts of works by Arriaga and Copland in this Latin-tinged program.

The Symphony in D by Juan Crisóstomo Arriaga, written in 1825 when the composer was just seventeen, is cast in the Haydn-Mozart mold. The performance revealed a deftly crafted work — exciting, tuneful, and blustery. After the Haydnesque slow introduction that prepares the listener for a D-major Allegro, the orchestra leaned into the unexpected d-minor with stormy energy and dynamic contrasts. Meyer kept fast tempos under control, battling acoustically challenging circumstances — distinctions of timbre and precision of attacks were frequently lost in the cavernous space.

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Oberlin Artist Recital Series: Verona Quartet with Wu Man (Feb. 25)

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by Mike Telin

If you are familiar with the Pipa — a Chinese lute-like instrument with a history that dates back more than 2,000 years — chances are that you first heard it played by Wu Man.

On February 25 in Oberlin Conservatory’s Warner Concert Hall, the world’s premiere pipa virtuoso joined the Verona Quartet — Jonathan and Dorothy Ro (violins), Abigail Rojansky (viola), and Jonathan Dormand (cello) — for a program that traveled the musical globe to explore the question, What is home? The concert was presented as part of the Oberlin Artist Recital Series.

Throughout the evening, the large audience was treated to a musical collaboration that never felt forced. As always, Wu Man’s innate sense of musicality proved that great virtuosity is not always about fast technical passages, it can also be found in the nuances of serenity. And the Verona, Oberlin’s Quartet-in-Residence, were unified partners, producing musically intelligent and technically flawless playing that seamlessly moved in and out of a spectrum of colors and stylistic emotions.

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Les Délices: Enchanted Isle at Plymouth (Feb. 26)

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by Daniel Hathaway

Les Délices lucked upon a sun-drenched, nearly balmy Sunday afternoon for its February 26 “Enchanted Island” program in Herr Chapel at Plymouth Church — weather that perfectly suited the subject but no doubt affected the turnout for soprano Sherezade Panthhaki’s impressive debut with the ensemble in solo cantatas by Clérambault and Rameau.

Although the ensemble reinvented itself to some extent to weather the pandemic, Artistic Director Debra Nagy continues to return to its original, winning format: one-hour programs of French Baroque repertoire, assiduously researched, prepared, and performed by Cleveland’s finest period instrumentalists, usually featuring guest vocalists. [Read more…]

Cleveland Orchestra: vivid Pictures & more under Welser-Möst (March 3)

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by Daniel Hathaway

If these fingers were crafting a marketing piece for The Cleveland Orchestra’s concerts on the weekend of March 2 rather than a review, they might be tempted to entice readers to attend with such alliterative flights of prose as “Sizzling Sonic Spectacular — and more.” But in retrospect, the Orchestra’s performance of Mussorgsky’s Pictures at an Exhibition was just that.

The huge orchestra that filled the Mandel stage after intermission on Sunday played the closing pages of Maurice Ravel’s brilliant orchestration of the original solo piano score with spacious grandeur, the kind of treatment “The Great Gate of Kiev” deserves in these perilous times.

Franz Welser-Möst led the audience through the gallery of Victor Hartmann’s idiosyncratic art like a skilled docent, pointing up interesting details and drawing precise playing from his orchestral colleagues. [Read more…]

Daniel Reith: a busy month for the assistant conductor at Severance 

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by Daniel Hathaway

In addition to being a pair of ears out in the house during rehearsals, the principal duties of the assistant conductor of a symphony orchestra include taking over the podium when the music director or guest conductor is indisposed. If the orchestra runs a youth orchestra, the assistant may function as its music director (with other duties to be assigned, of course!)

Midway through his first season with The Cleveland Orchestra, Daniel Reith found himself doing both jobs in a matter of days.

On the weekend of February 5, Reith covered for the ailing Finnish conductor Klaus Mäkelä, who withdrew after the first of a four-concert set, leading works by Andrew Norman, Debussy, and Ravel on short notice (the podium change was announced from the stage by Musical Arts Association president André Gremillet) and without the benefit of rehearsal. Then on February 24, he led the Cleveland Orchestra Youth Orchestra and Youth Chorus in the second concert of their season, which included a Wagner overture, a Schubert mass, and a Brahms symphony. [Read more…]

Heights Arts: Omni Quartet at Dunham Tavern and Museum (Feb. 21)

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by Kevin McLaughlin

The high-ceilinged, cozy barn of Dunham Tavern and Museum on a Sunday afternoon was a perfect setting to bask in the company and expertise of the Omni Quartet, who delivered a delightful program of Haydn, Shaw, and Mendelssohn. As the sun lowered and the excellence of the playing and geniality of the players took hold, a glow of contentment began to fill the space.

Founded in 2009, Omni Quartet members Amy Lee and Alicia Koelz (violins), Joanna Zakany (viola), and Tanya Ell (cello), all members of The Cleveland Orchestra, were convivial hosts, guiding the audience with verbal introductions to each work and brief excerpts by way of guideposts. While this can be overdone, here it was just enough to help the listener stay on the path. The commentaries and demonstrations worked out ahead of time were the most effective.

In her remarks about Haydn’s Quartet in F, Op. 77, No. 2, violinist Alicia Koelz emphasized the humor and elements of surprise present in the work. Sure enough, Haydn made us laugh, even when we knew the comedy was coming. Whether in the harmonic meanderings, the startling unison tremolo in the first movement, the rhythmic hijinks in the Minuet (a 2/4 march embedded in 3/4), or similar tugs of two against three in the final Vivace, the Omni told every joke with perfect timing and drollery. Koelz, playing first violin, amazed in the Rossini-like barnburner of a finale. Speed and rhythm were kept exact in both soft and loud passages. And is it possible that after the last chord I smelled smoke?

Violist Joanna Zakany’s introduction to Caroline Shaw’s Entr’acte (2011) included this composer note: “Entr’acte is an homage to the second movement (minuet) of Haydn’s Op. 77, No. 2, but in a kind of absurd, subtle, technicolor transition…[taking] you to the other side of Alice’s looking glass.”

[Read more…]

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