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Clarinetist Amer Hasan celebrates Mozart with the Akron Symphony

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by Stephanie Manning

When Amer Hasan introduced himself to the Akron Symphony in 2019, he did so with the opening movement of Mozart’s Clarinet Concerto. “ It was the first piece that I played for Maestro Wilkins in my audition, behind the screen,” Hasan recalled in a recent interview. “So the first three minutes of the concerto is not only the first music I associate with auditions, but also with the Akron Symphony.”

Six years on from that fateful performance, which helped earn Hasan the principal clarinet position, he and the orchestra are set to create some new memories with that same Mozart work. Music director Christopher Wilkins will lead Hasan and the Akron Symphony in a performance of the full, three-movement concerto on Saturday, March 29.

The 7:30 pm concert in E.J. Thomas Hall also features Joseph Bologne’s Overture to The Anonymous Lover, Jessie Montgomery’s Five Freedom Songs, and Beethoven’s Symphony No. 1. Tickets are available online. [Read more…]

Akron Symphony: Mahler’s emotional rollercoaster (Mar. 1)

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by Stephanie Manning

“Welcome to Mahler’s 2nd,” read the program leaflet I was handed while entering E.J. Thomas Hall on March 1. “You’re in for an emotional rollercoaster — big drama, quiet reflection, and an ending that will shake the walls (and maybe your soul).”

The Akron Symphony’s latest program certainly delivered on that promise. Most ensembles devote the entire evening to Mahler’s “Resurrection” Symphony, an almost 90-minute work, and Akron was no different. Conductor Christopher Wilkins led a stirring performance from the extra-large orchestra, together with the Akron Symphony Chorus, the Metropolitan Chorus of Summit Choral Society, soprano Sonya Headlam, and alto Amanda Lynn Bottoms. [Read more…]

Akron Symphony: “Autochthonous”-ly American (Jan. 18)

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by Stephanie Manning

The subtitle of William Grant Still’s Symphony No. 4, “Autochthonous,” made for a little vocabulary lesson at the Akron Symphony last weekend.

Meaning “indigenous, or belonging to a particular place by birth or origin,” the composer used the word to describe a distinctly American composition — one including not only African American musical styles, but also those from a variety of American cultures. The Akron Symphony’s January 18 concert was this celebration of our country’s music writ large. [Read more…]

Akron Symphony traverses the cosmos in “The Planets” (Oct. 19)

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by Stephanie Manning

Just before the Akron Symphony began their October 19 concert with Charles Ives’ The Unanswered Question, the audience was suddenly presented with a question of their own. Why were the musicians leaving the stage right after tuning?

Although bemused clapping and laughter followed, this conundrum luckily had an easy answer. Ives specifies that the string orchestra be hidden, which left only the four flute players and conductor Christopher Wilkins visible. So E.J. Thomas Hall darkened even further, leaving only the music stand lights and the haze diffused from backstage. In other words, it was an auspicious start to a concert with some deep ideas about the cosmos. [Read more…]

Cheers, gasps, and laughter fill Blossom as “Cirque Goes Broadway” (Aug. 31)

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by Stephanie Manning

This article was originally published on Cleveland.com.

CUYAHOGA FALLS, Ohio — “Cirque Goes Broadway” takes its song titles literally.

Acrobats soar high above the stage during “Defying Gravity.” A vocalist belts “I must not fall” while a contortionist carefully balances on one hand. And the opening orchestral number, “That’s Entertainment!” lets the audience know what it’s in for.

On August 31, conductor Lucas Waldin led the Akron Symphony Orchestra at Blossom Music Center in an evening of Broadway hits combined with acrobatics from the Big Top.

[Read more…]

Cirque de la Symphonie at Blossom: conversations with vocalists Hugh Panaro & Morgan James

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by Mike Telin

What can audiences expect to see and hear this weekend at Blossom Music Center? “Dizzying acrobatic heights and eye-popping feats together with top Broadway hits from Les Misérables, Frozen, Wicked, Chicago, and more…the perfect way to close out the summer.”

On Saturday, August 31 and Sunday September 1 at 7 pm, Cirque de la Symphonie joins the Akron Symphony Orchestra under the direction of Lucas Waldin in a show featuring Broadway stars Morgan James and Hugh Panaro. Tickets are available online.

I spoke with Hugh Panaro by Zoom at his country home in Connecticut.

Hugh Panaro: It’s a tiny farm town with deer, cows, and goats. Having grown up in Philadelphia, it’s not anything I would have imagined for myself.

[Read more…]

Akron Symphony Celebrates Thirty years of Gospel Meets Symphony (Feb. 10)

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by Kevin McLaughlin

For the past 29 years, the Akron Symphony’s “Gospel Meets Symphony” concert has brought together African American and European classical music traditions. During the 30th edition at E.J. Thomas Hall on February 10, which involved the Gospel Meets Symphony choir, junior gospel choir, soloists, rhythm section, and the Akron Symphony Orchestra, the power and joy of the gospel repertoire outmatched the classical — and the exuberance from choirmaster Jonathon Turner and his ensembles eclipsed everybody.

ASO music director Christopher Wilkins was a genial host, downplaying his conducting role even while he did it skillfully. “The way to conduct these concerts is just to light the fuse,” he said. He spoke easily and warmly, an unabashed advocate of the program, eager to introduce the music and enjoy it along with the rest of us.

[Read more…]

Akron Symphony: adaptable, exceptional (Jan. 13)

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by Peter Feher

The Akron Symphony pulled off an exceptional concert at E.J. Thomas Hall on January 13 that would have stretched any other ensemble to its limit.

Between the different instrumental configurations and the sheer variety of musical styles, there were what sounded like four distinct orchestras onstage Saturday night.

But the Akron Symphony came up with a pragmatic solution that made the performance possible. Music director Christopher Wilkins kept the ensemble small — scarcely more than 30 musicians for the biggest work of the evening. If the orchestra wasn’t exactly out in full force here, this tight-knit group of players nonetheless had all the power and finesse of a seasoned symphonic unit.

[Read more…]

Akron Symphony celebrates the organ with Robert Mollard (Oct. 21)

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by Kevin McLaughlin

The sound of an organ in orchestral settings is always an aural thrill. A cornucopia of colors and sonorities on its own, the organ, when mixed with strings, winds, brass, and percussion, more than doubles the pleasure and the fun.

In his welcoming remarks, music director Christopher Wilkins drew attention to the evening’s sonic star and focus — a digital impersonator of sounds, painstakingly prepared by Robert Mollard to sound just like a pipe organ. Putting out fullness and variety, if not always the seismic events associated with cathedral organs, Mollard nevertheless created excitement and beauty in his appearance with the Akron Symphony at E.J. Thomas Hall on Saturday, October 21.

Since the first official work on the program, Coleridge-Taylor Perkinson’s Worship: A Concert Overture, takes as its basis the hymn tune Old 100th (“Praise God from Whom All Blessings Flow”), two bonuses were in store to orient us. Principal flute Barbara O’Brien played the unadorned tune in gorgeous, silvery tones, and Mollard let loose with Robert Hebble’s Toccata on Old Hundredth, a festival of organ prowess.

[Read more…]

Akron Symphony: sincerity and solace in Brahms’ German Requiem (May 13)

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by Stephanie Manning

It’s not unusual to hear Johannes Brahms’ German Requiem with chorus and piano four-hands, rather than chorus and orchestra. Music-loving Clevelanders may even have heard that version recently, as it’s been popping up on local programs. But on Saturday, May 13, the Akron Symphony Orchestra and Chorus teamed up for a performance of the work that would satisfy lovers of both versions alike.

Before the Requiem, however, the Orchestra and music director Christopher Wilkins opened the evening with Valerie Coleman’s Umoja. Best known in its arrangement for woodwind quintet, the piece gained an orchestral version a few years ago — one that uses the diverse timbres of the bigger ensemble to put a new spin on the work. [Read more…]

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