by Daniel Hathaway
The Cleveland Chamber Music Society sailed into relatively uncharted waters on March 3, hosting the Bay Area male vocal ensemble Chanticleer in “Trade Winds.” This musical voyage took its name from a triptych by Zhou Tian, part of a varied program that called in at multiple ports for Italian madrigals, settings of Ave Maris stella (“Hail Mary, Star of the Sea”), an Edwardian part song, a Portuguese Mass, songs from the Pacific, and English sea shanties. [Read more…]
by Mike Telin
On May 4, 1970, the Ohio National Guard fired into a crowd of protesters at Kent State University, killing four students and wounding nine others. The 50th anniversary of this horrific event was the focal point of Cleveland Chamber Choir’s recent program “We March On! Music of Social Justice.” The thought-provoking concert also poignantly addressed anti-Semitic violence, the civil rights movement, hate crimes, police brutality, and women’s suffrage. [Read more…]
by Peter Feher
The Cleveland Orchestra brass were busy with Bruckner the prior weekend, but then on Sunday, March 1, The Orchestra’s second trumpet player, Jack Sutte, played a recital at Christ Church Episcopal in Hudson, part of Music from The Western Reserve’s 2019–2020 concert series. His program emphasized artistry over athleticism and served as a good reminder that sensitive, sustained solo playing naturally differs from the big orchestral approach. [Read more…]
by Timothy Robson
Jerusalem, sacred city of Judaism, Christianity, and Islam. The location of horrific violence and oppression for over two millennia. But yet a magical city in which Jews, Christians, and Muslims have lived and interacted with each other in harmony. It was the latter aspect of Jerusalem that Jeannette Sorrell and Apollo’s Fire highlighted in their sensational program “O Jerusalem! Crossroads of Three Faiths.” I heard the performance on Wednesday, March 11 at the Cleveland Museum of Art. Gartner Auditorium was well filled, and it now turns out that Apollo’s Fire gave the last major performance at the Museum for an unknown period of time, due to precautions around COVID-19. [Read more…]
by Mike Telin
Is there a more fun-filled, accessible opera than Mozart’s The Magic Flute? Its classic fairy tale plot — good versus evil combined with a search for enlightenment and love — is timeless. Its characters are sympathetic, and it’s filled with beautiful arias and catchy tunes that are certain to cause the most wonderful earworms long after you leave the theater.
by Daniel Hathaway
Members of The Cleveland Orchestra and friends who perform from time to time as the Cleveland Chamber Collective presented the premiere of a work by Geoffrey Peterson and the sneak preview of a Cleveland Orchestra-commissioned piccolo concerto in a chamber format. Filling out the program were well-known pieces by Beethoven and Debussy, performed in front of a small audience at Disciple’s Christian Church in Cleveland Heights on Sunday evening, March 1. [Read more…]
by Timothy Robson
Franz Welser-Möst and The Cleveland Orchestra presented a very unlikely pairing of musical works this weekend at Severance Hall, Ernst Křenek’s austere and modernist Static and Ecstatic, Op. 214, sharing the program with Felix Mendelssohn’s joyous, life-affirming Lobgesang (“Song of Praise”), Op. 52. In Mendelssohn’s mashup of symphony and cantata, the Cleveland Orchestra Chorus continued their upward trajectory of excellence, joined by soloists Christina Landshamer and Martina Janková, sopranos, and Julian Prégardien, tenor. [Read more…]
by Timothy Robson
It came as no surprise that the March 1 Severance Hall concert by the Cleveland Orchestra Youth Orchestra Youth Chorus was an excellent affair. Leading fine performances of music mostly off the beaten track, conductor Vinay Parameswaran helped prove that gloomy predictions of classical music performance fading into oblivion are misplaced. The audience was large and enthusiastic — I suspect with many rightfully proud family members.
by Peter Feher
Quire Cleveland doesn’t box itself into one time period. True, the early music vocal ensemble sang a program of exclusively 16th-century music on February 28 at Cleveland’s St. John Cantius Church (the first of two performances). But the music’s inspiration was older, even while the performers’ sensibility was thoroughly new.
by Nicholas Stevens
Imagine a concert that highlights underperformed music from an underexamined region and an underrated historical era. Not only does the program chart logical thematic paths through that repertoire, but it also changes up group configurations often enough to keep the audience attentive.