by Timothy Robson
Founded in 1912, the St. Olaf Choir from Northfield, Minnesota, has cultivated an international reputation as one of the best collegiate choirs in the United States. With their long-time conductor Anton Armstrong, the choir made a stop at Severance Hall in Cleveland on February 3 as part of their 100th annual tour that also included Carnegie Hall, Yale University, and the University of Illinois, Urbana. [Read more…]
by Daniel Hathaway
At first glance, Moon in the Mirror: an Operatic Monodrama in Seven Scenes, with libretto by Zhang Er and Martine Bellen and score by Stephen Dembski, bears a striking resemblance to Arnold Schoenberg’s Pierrot lunaire. Both are centered around a solo soprano who meditates on aspects of the human condition in the pale, ghostly light of Earth’s only satellite — itself a mirror that merely reflects, producing no light of its own. [Read more…]
by Peter Feher
The three works on The Cleveland Orchestra’s Thursday, January 30 program all evoked other music — a different composer, another piece, or a famous performance. Opening the concert was Prokofiev’s Sixth Symphony, decidedly a B-side in the composer’s symphonic catalogue. [Read more…]
by Tom Wachunas
Among many fascinating aspects of the January 25 performance by the Canton Symphony Orchestra was the ensemble’s untiring attentiveness to the conductor. Here was a remarkable connectivity, a sharpened focus, a palpable state of eager readiness. The musicians were always alert, ever poised to respond instantaneously and with riveting precision to signals from the podium. Those signals were transmitted in delightfully animated fashion by assistant conductor Matthew Jenkins Jaroszewicz. [Read more…]
by Nicholas Stevens
Much like genres, names of arts organizations constitute a sort of contract between artist and audience: mislabel something at your peril. The shouting that greeted The Rite of Spring at its debut offers an example. Patrons had paid for a nice evening at the Russian Ballet, and instead watched as dancers stamped all over the floorboards — and their expectations — to an insistent beat. All this to say that when the founders of fp (fresh perspectives) Creative named their classical and new music venture, they implicitly promised that their offerings would represent the best kind of break from convention. Last week, the call of a trumpet heralded a fulfillment of terms.
by Daniel Hathaway
Romantic love has worked its magic and wrought its afflictions on humankind in similar ways throughout history. Last weekend, Cleveland’s Les Délices joined Boston’s Blue Heron to chronicle how 14th-century European composers addressed that subject. The matrix for the collaboration between the ensembles was the celebrated Roman de la Rose, whose earliest layer by Guillaume de Lorris dates from ca. 1230. [Read more…]
by Timothy Robson
Despite predictions of snowy weather, there was a full house and enthusiastic audience at the Bop Stop on Friday evening, January 17, for the latest concert by the Cleveland-based new music group No Exit, collaborating with their Twin Cities counterpart Zeitgeist. The program was concise and wildly varied, with several first performances. Each work contained imaginative soundscapes and alluring musical ideas. [Read more…]
by Peter Feher
There was an unspoken tension between the composers on the Akron Symphony’s January 18 concert. Gustav Mahler’s hour-plus Fifth Symphony dominated the one-night-only program at E.J. Thomas Hall, which also featured an uncharacteristically short work by Richard Wagner — no slouch when it comes to profundity and grand gestures in his own music. Yet Wagner’s somewhat humble place on the program provided a conceptual key to Mahler’s self-contained, sometimes overwhelming symphony.
by Daniel Hathaway
When a pianist is performing center stage and seating is open, audiences tend to drift toward the keyboard side of the auditorium to get a good view of the performer’s hands. I like to head toward stage left, the better to catch the expressions on the pianist’s face. That paid off on Tuesday evening, January 14 on the Cleveland Chamber Music Society’s series at the Maltz Performing Arts Center when violinist James Ehnes and pianist Andrew Armstrong continued their progress through Beethoven’s complete sonatas. Per il Clavicembalo o Forte-Piano con un Violino is how the first edition subtitled them, making it clear that if the pianist isn’t the major actor, the two instruments are at least equal partners in this musical enterprise. [Read more…]
by Daniel Hathaway
Although the turbulent marriage of F. Scott and Zelda Fitzgerald — self-caricatures of the Jazz Age — has inspired a number of literary efforts in addition to their own near-autobiographical novels, the subject never seems to have been approached through the lens of opera. Composer Evan Mack and librettist Joshua McGuire have stepped in to fill that void with their one-act The Ghosts of Gatsby, commissioned by Samford University (Montgomery, Alabama), where it premiered in November 2018. [Read more…]