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.
It’s been rough going for Art Song Festival for the past two years. Founder George Vassos passed away after a long teaching and entrepreneurial career in February of 2020, and although detailed plans were in place to hold the festival that year, concerns about the well-documented spread of COVID via aerosols among singers dictated a postponement.
It’s been rough going recently for the Cleveland Art Song Festival, which moved back in 2017 to the Cleveland Institute of Music, where the biennial event was founded by voice professor George Vassos in 1985.
Is there a more fun-filled, accessible opera than Mozart’s 
From November 7-10, Cleveland Institute of Music Opera Theater presented a double bill of Igor Stravinsky’s early Le Rossignol and Maurice Ravel’s L’enfant et les sortilèges in CIM’s Kulas Hall. Dean Southern directed, and Harry Davidson conducted the CIM Orchestra, with sets and lighting by Dave Brooks and costumes by Inda Blatch-Geib. It was a very fine show, both musically and theatrically.