by Mike Telin
“For me, coming back to Cleveland is like coming home,” conductor Giancarlo Guerrero said during a Zoom conversation from Nashville where he has served as music director of the Nashville Symphony since 2009. “The Cleveland Orchestra was my family for almost ten years and this concert is the project this year that I am looking forward to the most because of my history with this orchestra — I am beyond excited to see everyone.”
On Saturday August 13 at 7:00 pm Guerrero will return to Blossom Music Center to lead The Cleveland Orchestra in a program that features Rachmaninoff’s Piano Concerto No. 2 with Daniil Trifonov, and John Adams’ Harmonielehre. (Note update: Lukáš Vondráček will make his Orchestra debut, stepping in for Daniil Trifonov after an acute arm injury.) Purchase tickets here. [Read more…]
What led 
Take a look at pianist Aaron Diehl’s upcoming concerts and you’ll see a little bit of everything. There’s “Jazz in July” at New York’s 92nd Street Y, “Bach to Bebop” with his Trio in Irvine, CA, and Gershwin’s Concerto in F with the Milwaukee Symphony Orchestra — all in the span of a few months. Much of Diehl’s work lies at the intersection of jazz and classical, and so does Mary Lou Williams’ Zodiac Suite, which he’ll be performing this weekend with The Cleveland Orchestra.
The Cleveland Orchestra worked overtime last weekend, making every note count. The season at Severance Music Center came to a close with final performances of Verdi’s Otello, plus two additional programs that showed just how much repertoire the players can master. These special, one-off concerts, presented under the banner “Breaking Convention,” fit the experimental model the ensemble has established in recent years, trying out tricky music in unconventional formats around the schedule of an opera.
Franz Welser-Möst led the final bows on Saturday night at Severance, like the star of any show should. The Cleveland Orchestra’s music director is in his element presiding over the ensemble’s annual opera production, which this season packs the drama. Verdi’s Otello — in a concert staging that opened May 21 and runs for two more performances (May 26 and 29) — demands big voices, instrumental forces to match, and a conductor who can give it all shape and direction. 
Many conductors are happy to travel from orchestra to orchestra with the same set of pieces. Not Michael Tilson Thomas, who brought a unique but instantly recognizable program to Severance Music Center over the weekend.
The Cleveland Orchestra could have partnered with the Cleveland Museum of Art for last weekend’s concerts. The give-and-take between composers and visual artists — and the historical movements that emerged in the process — inspired the program on Thursday, April 7 at Severance Music Center.
When visa issues prevented conductor François-Xavier Roth from leading this week’s Cleveland Orchestra concerts, the door opened for Kahchun Wong.
A long line at the Will Call window at Severance on Saturday evening, February 19 meant that a number of Cleveland Orchestra patrons missed hearing Guillaume Connesson’s Flammenschrift, the first item on Stéphane Denève’s program.
“What gets me excited about holiday concerts? Honestly, everything about them,” conductor Brett Mitchell said during a telephone conversation. “Every performance is for the audience, but these concerts really are for them. There’s so much opportunity for banter, and every crowd feels different.”