Christine Jay Archives - Cleveland Classical

Trinity Brownbag Concerts: Collegium Musicum Oberliniense (May 3)

May 16, 2017 by Mike Telin

by Mike Telin

Hearing choral music in Trinity Cathedral is always enjoyable, but the experience can become truly magical when the performers are refined and well-disciplined. This was the case on Wednesday, May 3 when the Collegium Musicum Oberliniense, under the direction of Steven Plank, performed a captivating program titled “Touches of Sweet Harmony.” The concert was presented as part of the Cathedral’s popular Brownbag series. [Read more…]

Purcell’s Dido and Aeneas
at Harkness Chapel, CWRU (April 17)

May 2, 2016 by Daniel Hathaway

by Mike Telin

When talented young conservatory students are given permission to unleash their creativity, wonderful things can happen. A case in point is Jason Goldberg’s imaginative production of Henry Purcell’s Dido and Aeneas, which received area performances on April 15 and 16 at Fairchild Chapel on the campus of Oberlin College, and on April 17 at Case Western Reserve University’s Harkness Chapel (which I attended). From start to finish the production vividly captured all of the opera’s action, magic, love, and heartbreak. [Read more…]

Oberlin Opera Theater — Britten’s The Rape of Lucretia (Nov. 11)

November 16, 2015 by Daniel Hathaway

by Daniel Hathaway

At once historical and metaphorical in its subject, Benjamin Britten’s The Rape of Lucretia delivers a lot in a compact package. The eight singers of Oberlin Opera Theater and fifteen instrumentalists of the Oberlin Contemporary Music Ensemble delivered an outstanding performance of the British composer’s 1946 chamber opera last Wednesday evening in Hall Auditorium — one that left the audience with a lot to think about. [Read more…]

Cleveland Orchestra’s holiday concerts return with plenty of festive cheer (Dec. 11)

by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio — If the twinkling lights, leafy green garlands and festive poinsettias didn’t already clue you in, the holidays have arrived at Severance Music Center. ‘Tis the season for annual traditions — including The Cleveland Orchestra’s holiday concerts, which began on Wednesday evening.

Running through December 22, the programs feature plenty of seasonal classics plus some potential new favorites. The first performance proved that this mix is a delightful recipe for festive cheer.

“Look at you all, out on a school night!” conductor Sarah Hicks proclaimed joyfully from the podium. Just as many concertgoers donned red outfits to get into the spirit, Mandel Concert Hall was also decked out with decorations and stage lighting effects.

Oberlin Conservatory convincingly tells Omar’s story (Dec. 8)

by Stephanie Manning

The Cleveland premiere of Rhiannon Giddens’ and Michael Abels’ Pultizer Prize-winning opera Omar on December 8 at the Maltz Performing Arts Center proved that concert productions of opera can succeed without sets, elaborate costumes and extensive staging. Indeed, the Oberlin Conservatory presentation offered more than enough to keep the audience in the crowded house enthralled.

The Opera, which was also presented at Oberlin’s Finney Chapel two days earlier, is based on the 1831 autobiography of Muslim scholar Omar ibn Said, the only such work written by an enslaved person during their enslavement, and the only such document written in Arabic.

Rhiannon Giddens’ brilliant libretto chronicles the life of ibn Said, beginning in present-day Senegal and following him through his capture, journey via the Middle Passage, and enslavement in North and South Carolina. [Read on…]

Kirill Gerstein is captivating on piano as Cleveland Orchestra recital series continues (Dec. 4)

by Daniel Hathaway

This article was originally published on Cleveland.com

CLEVELAND, Ohio — There’s no dearth of first-class piano performances to enjoy in Northeast Ohio, but Kirill Gerstein’s contribution to the collective wealth Wednesday night was extraordinary both in concept and execution.

Playing as part of the Cleveland Orchestra’s ongoing recital series at Severance Music Center, Gerstein wove an overarching narrative from the 21 little masked ball portraits in Robert Schumann’s “Carnaval.” Then he helped composer Francisco Coll blow up the idea of the waltz in two striking, brand new pieces written for Gerstein and joined Maurice Ravel in redefining that most civilized of dances in a cataclysmic performance of “La valse.”

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