by Daniel Hathaway
Oberlin Opera’s wonderful mid-March production of Candide combined several layers of brilliance.
First, the source: the anonymous 1759 novella Candide, or the Optimist. Later owned up to by the French Enlightenment philosopher François-Marie Arouet — better known by his nom de plume, Voltaire — it was a deliciously wicked send-up of the absurd teachings of optimist philosophers like Gottfried Wilhelm Leibniz, who taught that everything was for the best “in this best of all possible worlds.”
Then in 1956 came the first staged version of Candide as a comic opera with a witty libretto by Lillian Hellman and a high-spirited score by Leonard Bernstein — originally conceived by Hellman as a play, but Bernstein’s intentions of making it an operetta won out. [Read more…]
There may be nothing more unifying than humanity’s response to loss. Where words fail to describe feelings as complex as those associated with death and grief, music takes over — and it’s hard to imagine anything ringing more true in that regard than pianist Orion Weiss’ latest album, 
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.
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.
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.
