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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.

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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.

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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.

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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.

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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…]

Akron Symphony shines in Mahler 3 (Apr. 15)

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by Kevin McLaughlin

Thinking small was not Mahler’s usual symphonic strategy. “A symphony must be like the world,” he famously asserted to Sibelius in 1907. “It must contain everything.”

But the whole world? Yes — and heaven, too.

The Third Symphony, written between 1895 and 1897, is Mahler’s longest and grandest. Many orchestras pass on it, due to the swollen forces required (lots of winds, brass, and percussion) and the huge lift asked of every section. The Akron Symphony, led by music director Christopher Wilkins, lifted it all very high on Saturday, April 15, sagging only rarely.
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Akron Symphony delights with “Global Circus” (Feb. 25)

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by Stephanie Manning

Sometimes it can be easy to forget just how much classical music is loved worldwide. Thousands of miles away from the classical music strongholds in Europe and North America, musicians of all backgrounds compose and perform with passion — even at times in the face of difficult circumstances. But as Akron Symphony music director Christopher Wilkins reminded his audience on Saturday, this love is often unrequited, leaving works from places like the Middle East underrepresented on American stages.

With their latest program, “Global Circus,” the Symphony wanted to change that. On February 25, listeners heard works by composers from Iran, Afghanistan, Syria, France, and Argentina in a multimedia program that was both memorable and emotionally moving. [Read more…]

Akron Symphony:
“Serenade for Strings”
(Jan. 14) 

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by Kevin McLaughlin

The Akron Symphony Orchestra was particularly well represented by its string section on Saturday, January 14, as it continued to put on display both the strength of its players and its capacity for varied and engaging programming. 

The concert, titled “Serenade for Strings,” featured six chamber works, all performed on the ASO’s home stage at E.J. Thomas Hall. The players were seated in front of a scrim to enhance projection and simulate a chamber setting. The program included J.S. Bach’s Brandenburg Concerto No. 3, Julia Perry’s introspective Pastoral, and Xavier Foley’s Double Concerto “For Justice and Peace,” written in 2019. Also a double bassist, Foley was featured twice as soloist — first, alongside violinist Eunice Kim in the Double Concerto and following intermission, in Bottesini’s Double Bass Concerto No. 2. The evening concluded with a deft performance of Tchaikovsky’s intimate Serenade for Strings.

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“American Fanfare” in Akron (Sep. 24)

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by Stephanie Manning

Just before the Akron Symphony string section began a work by Jerod Impichchaachaaha’ Tate on Saturday evening, conductor Christopher Wilkins turned to the audience, raised a document, and began to read. What he had in his hand wasn’t program notes. As a pairing to the work by Tate — a member of the Chickasaw nation — Wilkins read a land acknowledgement for the city of Akron, honoring the Indigenous people to whom the land belongs.

The piece, along with that reading, is just one example of the Symphony’s aim this season to elevate the music of underrepresented composers. On September 24 in E.J. Thomas Hall, the ASO’s 2022-23 season began with “American Fanfare,” which explored the complexities of American identity and culture.

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Akron Symphony: 
“Symphonic Dances” (Apr. 2)

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by Peter Feher

The Akron Symphony set last weekend’s program moving — spinning, scurrying, and leaping across the stage, even if the musicians stayed in their seats. The April 2 concert at E.J. Thomas Hall brought out the dance element in a range of orchestral works, sometimes literally. Choreography, from ballet to flamenco to traditional Korean dance, accompanied two of the evening’s pieces.

The program’s second half stayed strictly musical, with a straightforward reading of Sergei Rachmaninoff’s Symphonic Dances. Any movement that took shape came directly from the score, in the rhythms and accents the composer used to virtuosic effect in his writing for orchestra. [Read more…]

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