by Robert Rollin

by Robert Rollin

by Daniel Hathaway

by Mike Telin

One piece is common to both programs: Haydn’s C-Major Cello Concerto, and McGegan looks forward to renewing his friendship with the soloist, TCO principal cello Mark Kosower. “I’ve known him since he was a teenager, so it will all be great fun.”
The Haydn concerto is both old and new: it was presumed lost until the score was discovered by Oldřich Pulkert in the Prague National Museum in 1961. “People knew it existed, because the first couple of bars are in one of Haydn’s own catalogues,” McGegan said, “and that’s all we knew until the 1960s. It’s one of the great musical discoveries of our time, and a masterpiece at that. It’s a wonderful foil for the D-Major concerto. The C- Major is a really outgoing piece, whereas the D-Major is more intimate.” [Read more…]
by Timothy Robson

He seems to be working his way up the ladder through engagements with European regional orchestras, so this “one-off” debut concert with The Cleveland Orchestra — undoubtedly with very limited rehearsal time — put him under a laser light in three masterworks: Beethoven’s Leonore Overture No. 2 and Piano Concerto No. 5, “Emperor,” with the esteemed Garrick Ohlsson as soloist, and Dvořák’s Symphony No. 8. [Read more…]
by Mike Telin
“It feels like a long time, but it’s only been just under two years since I left The Cleveland Orchestra in September of 2013,” former assistant conductor James Feddeck said in a recent telephone conversation. “While it’s been a whirlwind, I’ve had so many wonderful experiences to make music. I think I’ve worked with about forty orchestras during that time, and it’s been inspiring for me to be able to conduct repertoire in all of those different places. But it’s equally exciting to be able to come back to The Cleveland Orchestra. I have to say that I’m really looking forward to this program at Blossom.”
On Saturday, August 15 at 8:00 pm, Dutch violinist Simone Lamsma will join Feddeck and the Orchestra for the Tchaikovsky concerto in a program that begins with Carl Maria von Weber’s Euryanthe Overture and concludes with Jan Sibelius’s Symphony No. 5.
by Nicholas Jones
Saturday’s Cleveland Orchestra concert at Blossom graced the kind of crystalline evening for which summer festivals were created. As I drove to the concert through the Cuyahoga Valley National Park, its lush meadows already half in shadow and half in sun, I could hear in my head the idyllic opening of Samuel Barber’s Violin Concerto, almost as summer-drenched as one could imagine a piece of music to be.
by Daniel Hathaway

by Robert Rollin

A packed house and lawn at Blossom on August 24 (photo by Roger Mastroianni)
On Sunday evening August 24, the Cleveland Orchestra, with guest conductor and Philadelphia Pops Orchestra director, Michael Krajewski, celebrated the 50th anniversary of The Beatles coming to America. Classical Mystery Tour, a group that transcribed and performed note for note over two dozen well-known Beatles songs, made the concert truly exciting.
The four musicians played accurate versions of many songs originally created in the studio with orchestral arrangements, but never fully played live during the original group’s performing days. Producer/arranger George Martin helped create many of these intricate works in consultation with The Beatles. [Read more…]
by Robert Rollin

The highlight was a marvelous performance of Carl Orff’s Carmina Burana (1936) scored for soprano, tenor, and baritone soloists, children’s choir, chorus and large orchestra, mixing words from both Latin and old German. The text comes from a significant collection of 12th century Latin and old German secular poems recorded in manuscript in an abbey near Munich, where German monks preserved it for future generations. Johann Andreas Schmeller published the first edition in 1847. The first performance in 1937 was a staged version, though the large majority of subsequent performances were in concert format. [Read more…]
by Kelly Ferjutz, Special to ClevelandClassical

Of course, that’s because the Orchestra, with guest conductor Matthew Halls, was luminous enough in itself to have lit up the skies like daylight. The evening’s program – and homage to Mozart — began with the overture to his opera Idomeneo. Mr. Halls drew lovely sounds from the musicians in front of him with his decisive movements and graceful hand motions. [Read more…]