by Peter Feher
The history of classical music sometimes borders on mythology. The music on the Akron Symphony’s Saturday, February 22 program has taken on this fabled, quasi-historical quality — Mozart’s Requiem, Schubert’s “Unfinished” Symphony, and Beethoven’s over-finished Leonore Overture No. 3. Fortunately, in performance the music more than lived up to the story. [Read more…]
by Jarrett Hoffman
If you heard about someone sneaking into a rehearsal, you might be forgiven for asking, “Don’t you mean out?” But twelve years ago, a program called Gospel Meets Symphony came across the radar of 16-year-old Jonathon Turner, and he was curious. He asked his uncle to drive him and a friend, Dinareo Hill, to a church on the west side of Akron.
“We kind of snuck in the back, sat in the last row of the sanctuary, and just listened,” Turner, 28, said during a recent phone call. “It was like, oh my God. We had never heard a sound like that, with both gospel music and classical music.”
by Peter Feher
There was an unspoken tension between the composers on the Akron Symphony’s January 18 concert. Gustav Mahler’s hour-plus Fifth Symphony dominated the one-night-only program at E.J. Thomas Hall, which also featured an uncharacteristically short work by Richard Wagner — no slouch when it comes to profundity and grand gestures in his own music. Yet Wagner’s somewhat humble place on the program provided a conceptual key to Mahler’s self-contained, sometimes overwhelming symphony.
by Jarrett Hoffman
Programming a concert is like working out a puzzle. And if one of the pieces is Mahler’s Symphony No. 5, a better comparison might be a Rubik’s Cube.
“It’s challenging to program the Fifth Symphony because it’s 70 minutes, so that could be a full evening,” Akron Symphony music director Christopher Wilkins said during a phone call. “But I think most conductors are reluctant to just open the doors, let people get settled in their seats, and boom — have 70 minutes of music. It’s of course tough for latecomers. And the first and second movements are meant to be played without pause, so you don’t even get to relax until you’re a good twenty-plus minutes into the piece.”
How about starting with a short piece? That’s worse. Either the audience gets an oddly early intermission, or they have to sit still for maybe an hour and a half.
For the Akron Symphony’s concert this Saturday, January 18 at 8:00 pm at E.J. Thomas Hall, Wilkins has opted to precede Mahler’s Fifth with a pair of short pieces: Mozart’s Overture to The Marriage of Figaro and Wagner’s Prelude to Tristan and Isolde. In a way, all three works are about love — but more on that later.
by Jarrett Hoffman
This weekend, the Akron Symphony will spotlight two of its own. Concertmaster Tallie Brunfelt will take on the quadruple challenge of Vivaldi’s The Four Seasons, and principal horn Meghan Guegold will play Richard Strauss’s early Concerto No. 1 on Saturday, November 16 at 8:00 pm at E.J. Thomas Hall.
When Guegold was an 18-year-old student at the University of Akron, she was determined not only to learn the Strauss, but to play it memorized on that uncommon and ambitious event: the freshman recital.
“I thought, you know, I want to perform for a living, so I might as well jump right on in,” the hornist said during an interview.
That work, a pillar of the horn repertoire, wasn’t a surprising choice. “It’s definitely one of the best concertos we have,” Guegold said, adding that it might be the best from the Romantic era. The lyricism and the heroic quality of the writing attracted her. “I think it was the start of my real love of Strauss’s music.”
by Jarrett Hoffman
The 19th Amendment to the U.S. Constitution was ratified in August of 1920, and leading up to the 100th anniversary of that event, the Akron Symphony is highlighting six women composers through a project called “Stand Beside Her.”
I spoke to concertmaster Tallie Brunfelt and principal horn Meghan Guegold — who will both be featured as soloists in the Orchestra’s November 16 concert — and asked what this programming initiative means to them.
“I’m just so thrilled that the ASO is doing this, especially in light of the centennial,” Brunfelt said by telephone. Being a woman at her position in the Orchestra makes this project all the more exciting for her. “There aren’t many female concertmasters, and I think representation and visibility are extraordinarily important,” she said.
by Nicholas Stevens
Shakespeare is everywhere these days: not just at the roots of today’s literature, poetry, philosophy, pop culture, and theatre, but as the ultimate canonic figure in the arts. His fame helps keep him famous. Titles of novels riff on the fact that his work remains required reading; Supreme Court justices make headlines for doubting his authorship; tempests in teapots brew when people move his portrait. Classical music, with its piano-adorning composer busts, boasts figures of comparable monumentality. In presenting music on Shakespearean themes and scenarios in a recent concert, however, the Akron Symphony seized a chance to savor works of rarer vintages. [Read more…]
by Jarrett Hoffman
Akron Symphony music director Christopher Wilkins has long had an interest in theater. “I’ve kept my eye out for theater-related projects for years and years and years,” he said during an interview.
One of those projects was Mendelssohn’s incidental music for A Midsummer Night’s Dream interleaved with a significant chunk of Shakespeare’s play, a production ClevelandClassical.com reviewed in 2014. “I’ve also done The Tempest with the complete incidental music by Sibelius,” Wilkins said. “But these next two pieces are knockouts.”
Those would be Shostakovich’s Hamlet Film Suite and William Walton’s Henry V: A Shakespeare Scenario, which make up two-thirds of “Symphonic Shakespeare,” the Orchestra’s program this Saturday, October 19 at 8:00 pm at E.J. Thomas Hall.
by Jarrett Hoffman
From the first time he saw West Side Story, Connor Bogart O’Brien knew that Tony was a role he was born to play.
So why did he pass on opportunities to do just that — not once, not twice, but three times?
“I didn’t want my debut as Tony to be for anything less than the biggest, most stellar production,” the Ashtabula native said with a laugh during a recent phone call.
Then, about six years ago, O’Brien found himself right where he wanted to be: in Pearl Studios in Manhattan in the final callbacks for the musical’s national tour. “I’m there with two other Tony’s, and I’m thinking, this is it, now is my chance. And fifteen minutes later, I’m on the street wondering what the heck just happened. I did not get it. So I thought, that’s it, I’m going to get too old to play a teenager, and I’m just not going to be able to do it.”
But the universe — via Akron Symphony music director Christopher Wilkins — smiled on O’Brien. [Read more…]
by Nicholas Stevens
Most musicians and music history buffs recount Beethoven’s life as a three-part story of artistic progress, from early indebtedness to precedent, through the heroic rupturing of tradition, then on to strange yet sublime experiments. However, smart concert programming can remind us that this central figure of the classical pantheon, like most artists, tended to zigzag. [Read more…]