Christopher Holmes Archives - Cleveland Classical

Overnight review —
Cleveland Opera Theater:
The Marriage of Figaro (April 28)

April 29, 2017 by Mike Telin

by Mike Telin

Last night, Friday, April 28 at Masonic Auditorium, Cleveland Opera Theater scored a win with its latest mainstage production, Mozart’s The Marriage of Figaro. Directed by Scott Skiba, the exceptionally strong cast performed with solid vocal prowess and comedic flair, making for an enjoyable musical as well as theatrical experience. [Read more…]

Cleveland Opera Theater: a conversation with The Marriage of Figaro’s title character

April 26, 2017 by Mike Telin

by Mike Telin

“The challenge of performing the role of Figaro is holding onto all of the words, but the character is so much fun,” Christopher Holmes said. “As a baritone, I’m used to playing the bad guy, which is a lot of fun too, but this role is written so well that I’m really looking forward to it.” This week the Oberlin graduate will make his Cleveland Opera Theater debut, singing the title role of Mozart’s popular opera buffa Le nozze di Figaro.

Directed by Scott Skiba, performances will take place at the Cleveland Masonic Auditorium in MidTown on Friday, April 28 at 7:30 pm and Sunday, April 30 at 3:00 pm. Domenico Boyagian will conduct the Cleveland Opera Theater Orchestra and cast, which includes Christopher Holmes as Figaro, Marian Vogel as Susanna, Brian Keith Johnson as Count Almaviva, and Rachel Copeland as Countess Rosina. The opera will be sung in Italian with English supertitles. [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.

[Read on…]

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.”

[Read on…]

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