by Mike Telin
There are a few reasons why this week’s program from Franz Welser-Möst and The Cleveland Orchestra is particularly special. One, it marks the first time that the ensemble will return in full force to Severance Music Center since March 2020.
Two, the concerts will mark the final performances of Joela Jones as the Orchestra’s principal keyboard, finishing up a 54-season tenure. Click here to read an interview.
And three, the program will feature Alisa Weilerstein in the Cleveland premiere of Joan Tower’s A New Day for cello and orchestra.
The concerts, titled “New Beginnings,” take place on Thursday, October 14 at 7:30 pm and Sunday, October 17 at 3:00 pm, and will also include Richard Strauss’ Macbeth and Sergei Prokofiev’s Symphony No. 5. Click here for ticket information.
Since The Cleveland Orchestra’s In Focus programs run about an hour each, it seems odd to label Alisa Weilerstein’s program of J.S. Bach’s six solo cello suites — three hours’ worth of music and commentary — merely as a “bonus” episode. Whatever the packaging, her recordings from Severance Hall that debuted on the Adella platform on February 18 add yet another distinguished set of performances to the many we’ve been able to enjoy over the years — and especially during the early days of COVID-19, when streaming performances of the Suites became something of a cottage industry among quarantining cellists. 
The Elgar concerto was on the agenda for Cleveland native and international cello heroine Alisa Weilerstein’s most recent homecoming. On Thursday evening at Severance Hall, Weilerstein put her individual stamp on that iconic work in a penetrating and daring performance with The Cleveland Orchestra and Giancarlo Guerrero. 
“I’m so happy to be coming back to my hometown. I’m quite excited about it,” cellist Alisa Weilerstein said during a telephone call from Belfast, Northern Ireland. On Thursday, November 6 at 7:30 pm in Severance Hall, Weilerstein will join The Cleveland Orchestra and conductor Giancarlo Guerrero in a performance of Edward Elgar’s Cello Concerto.
In this day and age it’s not unusual for classically-trained musicians to experiment with and perform music of seemingly unrelated genres. And it’s always interesting to hear how they go about incorporating their classical sensibilities into the works of bands like the Beatles or into bluegrass tunes like “Orange Blossom Special”. 
by Mike Telin