Cory Clines Archives - Cleveland Classical

Ohio Light Opera: Offenbach’s La Périchole (July 18)

July 24, 2018 by Special to ClevelandClassical.com

by Kelly Ferjutz

You’ve heard of “screwball comedies,” right? Well, here’s your chance to see a screwball comedy disguised as an operetta. The sumptuous music is by the German-French master, Jacques Offenbach, and features a sparkling new English translation by OLO’s Jacob Allen. The original French libretto from 1868 is by Henri Meilhac and Ludovic Halévy. Offenbach wrote nearly 100 operettas from the 1850s–1870s, on more than a dozen of which Meilhac collaborated, while Halévy assisted on more than twenty. Today, only half a dozen or so are still in the active repertoire. [Read more…]

Ohio Light Opera: Gilbert & Sullivan’s Iolanthe (July 12)

July 16, 2018 by Delaney Meyers

by Kelly Ferjutz
Special to ClevelandClassical.com

If you’ve never quite understood all the fuss about Gilbert & Sullivan, then you owe it to yourself to see Ohio Light Opera’s production of Iolanthe, in repertory at the College of Wooster through August 9. Do not delay, or you’ll miss one of the most luscious, lighter-than-air confections ever seen. [Read more…]

Ohio Light Opera: The Pajama Game (June 16)

June 20, 2018 by Special to ClevelandClassical.com

by Kelly Ferjutz
Special to ClevelandClassical.com

Who would ever have thought that labor troubles in a pajama factory in Iowa could become the fodder for an award-winning musical comedy that is still lively and topical at almost 65 years of age? The twentieth century might almost have been known as the century of the labor union, which peaked in the 1950s. At that time, they were still a major force, as cheekily demonstrated in the buoyant presentation of The Pajama Game that opened the Ohio Light Opera season in Wooster on Saturday evening, June 16. [Read more…]

CIM Opera’s engaging Puccini double bill prompts both laughs and tears (Nov. 7)

by Stephanie Manning

The three one-act operas that make up Giacomo Puccini’s Il trittico (The Triptych) are typically connected by theme, rather than location. Although the trio of works take place in 13th-century Paris, 17th-century Siena, and 20th-century Florence respectively, they all deal with keeping someone’s death a secret — whether tragically or comedically.

CIM Opera Theater’s recent production of two-thirds of the triptych brought the action into one particular place and time, as director Dean Southern moved both Suor Angelica and Gianni Schicchi into 1918’s New York City. What stood out more, however, were the impressive performances from across the large cast, which I heard on November 7 in Kulas Hall.

Oberlin Orchestra with the Poiesis Quartet in Finney (Oct. 31)

by Daniel Hathaway

Fresh from winning the grand prize at the prestigious Banff Competition on the last day of August, the Poiesis Quartet (Sarah Ying Ma & Max Ball, violins, Jasper de Boor, viola, and Drew Dansby, cello) took a late October victory lap at the Oberlin Conservatory, returning to their place of birth as an ensemble to give master classes and solo with the Oberlin Orchestra.

Judging from the turnout in Finney Chapel on Friday, it might not have been a prizewinning idea to schedule a major orchestra concert on a college campus on Halloween, but there was nothing slim about the sound that the stage full of musicians produced. Brilliantly scored works by Carlos Simon, John Adams, Angélica Negrón, and Zhou Tian, were conducted with precision by Rafael Jiménez.

Cleveland Orchestra makes a sinister showing of Alfred Hitchcock’s Psycho (Nov. 5)

by Peter Feher

A violin bow is an unlikely murder weapon. But in the hands of composer Bernard Herrmann, the slashing motion of a string instrument seems almost one and the same with the stabbing knife onscreen in Alfred Hitchcock’s 1960 classic Psycho.

The infamous soundtrack to secretary Marion Crane’s final moments in the shower — and also to private investigator Milton Arbogast’s stumbling death down the stairs later in the film — is horrifyingly simple. A series of screeching down-bows begins in the first violins and then stacks in dissonant intervals as the remaining string sections join in. The gesture is more like a Foley effect than music per se, evoking something between a human scream and the shriek of metal against metal.

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