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Re•Views

Daniel Emmet sparkles in the
spotlight at Cleveland Pops (Nov. 5)

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by Stephanie Manning

Given the venues that Daniel Emmet is used to performing in, Severance Music Center must have felt like quite the culture shock. The classical crossover vocalist, a 2018 finalist on America’s Got Talent, has entertained crowds at places like Caesars Palace, Staples Center, and Angels Stadium. But that didn’t mean that Emmet was any less excited for his appearance on November 5 — quite the contrary.

“Hello, Cleveland!” he announced with a wide grin. “I’ve been waiting many years to say that.” Together with the Cleveland Pops Orchestra, the operatically-trained tenor delivered a memorable, genre-crossing evening of music.

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“Heaven and Earth” at the Church of the Covenant (Oct. 8)

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by Mike Telin

Wonderful things can happen when two accomplished ensembles collaborate. Such was the case on Saturday, October 8, when the Cleveland Chamber Choir and the BlueWater Chamber Orchestra joined forces at the Church of the Covenant in a program titled “Heaven and Earth.” The result was spectacular.

The program featured Gwyneth Walker’s The Golden Harp (1999) and Beethoven’s Mass in C. At first glance the two works appear to have little in common: Walker sets the words of Bengali poet Rabindranath Tagore and Beethoven sets the text of the Latin mass. Still, the colorful, expressive music in each provides a directness to the text that takes the listener on an emotional journey.

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Les Délices: “Winds of Change” (Oct. 23)

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by Stephanie Manning

Rarely is there a program title as accurate as Les Délices’ “Winds of Change.” The program embraced the new and different in a variety of ways — referencing both specific events, like the French and Haitian revolutions, and broader ideas, like advocacy for composers of color. Originally presented as an online offering last season, on October 23 the concert proved it was certainly worth hearing live.

Sunday afternoon also featured a first-time venue for the ensemble: West Shore Unitarian Universalist Church in Rocky River. Though visually unassuming, the space delivered fantastic acoustics for small instrumentations. In the Quartet for flute and strings by Joseph Bologne, Chevalier de St. Georges, the gossamer sounds of Emi Ferguson’s flute resonated perfectly above a three-piece string accompaniment. Violinist Shelby Yamin, violist Allison Monroe, and cellist Rebecca Reed contributed a great sense of energy to the piece as they supported Ferguson.

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Bokyung Byun: striking a balance (Oct. 8)

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by Stephanie Manning

By the time she was a teenager, Bokyung Byun had lived in South Korea, China, and the United States — giving her an international perspective, but also complicating her sense of belonging. And as many musicians do, she grappled with her feelings through music. For her visit to the Cleveland Classical Guitar Society on October 8, Byun brought a program designed around her identity, both as a performer and as a person.

As the guitarist told the audience at Plymouth Church in Shaker Heights, her move to New York at age 16 — to study at Juilliard — inspired her love of music from the Americas, with its flexibility and diversity of style.

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The Cleveland Orchestra: Strauss and Widmann (Oct. 20)

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by Peter Feher

It was a good thing that preparations for last weekend’s Cleveland Orchestra concerts started seasons ago. The ambitious and challenging program wouldn’t have been possible without some serious planning, and that meant thinking well ahead of the first performance on October 20. A huge ensemble of more than 100 players, including a couple of unusual instruments, came together at Severance Music Center on Thursday — and this was an expert group.

The musicians’ skill and experience went beyond a simple mastery of the evening’s two works, Jörg Widmann’s Viola Concerto and Richard Strauss’s An Alpine Symphony. Pulling off both pieces — each a production in itself — required an instinctive grasp of the composers’ overall styles, and the players had that knowledge in spades.

[Read more…]

The Cleveland Orchestra:
Beethoven, Bloch & Al-Zand (Oct. 13)

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by Peter Feher 

The Cleveland Orchestra took on a timeless subject, but added a modern touch, last weekend at Severance Music Center. War was the theme of this mostly somber program that started with the disillusionment of a 21st-century composer and ended with the conflict and triumph of Beethoven’s Symphony No. 3 (“Eroica”).

In a different ensemble’s interpretation, that trajectory could sound aggressive and even dispiriting. But with guest conductor Nikolaj Szeps-Znaider, the Orchestra committed to finding the beauty in every phrase, redeeming the rough edges of an otherwise excellent performance on Thursday, October 13.

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Tri-C Piano: Alexandre Dossin plays George Walker (Oct. 9)

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by Jacob Strauss

It is the composer George Walker’s centennial this year, and on October 9, pianist Alexandre Dossin — performing in Cleveland for the first time — gave a concert featuring the composer’s work through six decades at the Cleveland Museum of Art’s Gartner Auditorium. The performance was part of the Tri-C Classical Piano series.

As a Black musician of the 20th century, Walker experienced a life of firsts. Among many other distinguished accomplishments throughout his career, he was the first Black musician to perform as a soloist with the Philadelphia Orchestra, the first Black tenured professor at Smith College, and in 1996 became the first Black composer to receive the Pulitzer Prize In Music.

[Read more…]

Apollo’s Fire: Monteverdi’s Vespers of 1610 (Oct. 8)

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by Peter Feher

Apollo’s Fire can’t help returning to the music of Claudio Monteverdi. Cleveland’s period orchestra revived its thrilling take on the composer’s Vespers of 1610 to start the season, and you couldn’t ask for a better beginning. The 40-odd singers and instrumentalists who filled First Baptist Church in Shaker Heights on Saturday, October 8 had musical riches to spare, and a distinctive creative vision united it all.

The unifying thread wasn’t Monteverdi, however, but artistic director Jeannette Sorrell, who’s made a focused project out of this sometimes sprawling piece. Part of the challenge lies in the work’s sheer scope, which is emblematic of the composer’s career. The music looks back on older Renaissance and Medieval styles while also anticipating the innovations of the Baroque era.

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Boston’s Balourdet String Quartet opens Rocky River series (Sept. 26)

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by Daniel Hathaway

The Rocky River Chamber Music Society opened its 64th season on Monday, September 26 at West Shore Unitarian Universalist Church with a performance that symbolized part of what the organization is all about.

RRCMS regularly ferrets out ensembles that have only recently arrived on the world stage and presents them free of charge. The Balourdet String Quartet, which hangs its shingle in Boston at the New England Conservatory, is such a group, having been formed at Rice University in 2018 and quickly built a following and an impressive list of engagements.

Well-earned, because they’re terrific. Named after Antoine Balourdet, the celebrated head chef at the Hotel St. Bernard in Taos, New Mexico near the Taos School of Music, the Balourdet offer up well-curated, delectable musical menus that are apparently analogous to the chef’s wizardry in the kitchen. [Read more…]

The Cleveland Orchestra embraces “Resurrection” in stirring season opener (Sep. 29)

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by Stephanie Manning

It’s a sure sign that Severance Hall is going to be packed when the intersection of Euclid Avenue and East Boulevard is clogged six ways to Sunday — or rather, Thursday.

It wasn’t just the traffic. Everything at The Cleveland Orchestra’s concert on September 29 was busier than usual — more people in the audience, more musicians on stage, and one of the longest standing ovations in a while.

Franz Welser-Möst led the Orchestra in the first performance of its 105th season, a stirring account of Gustav Mahler’s Symphony No. 2. At one hour and 20 minutes, the work is long enough to fill a whole program — and the Orchestra smartly did just that, forgoing any preludes or overtures in favor of presenting the one work without intermission.

[Read more…]

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