by Daniel Hathaway
A critical mass of nearly 200 singers joined Christopher Wilkins, the Akron Symphony, and a first-rate quartet of soloists for a resounding performance of Felix Mendelssohn’s Elijah on Saturday evening, May 5 in E.J. Thomas Hall. Commissioned for the 1846 Birmingham Festival following the success of his earlier oratorio St. Paul, Mendelssohn’s concert-length work presents the life of the Hebrew prophet in several dramatic scenes.
“The string quartet repertoire is perhaps richer than any other musical form,” cellist Brook Speltz said during a recent telephone conversation. “There is a purity to the soprano, alto, tenor, and bass combination of instruments that is equal to a choir, and that has inspired many composers.”
On Wednesday, April 26 at 7:30 pm in Akron’s E.J. Thomas Hall, Speltz will join his Escher String Quartet colleagues — violinists Adam Barnett-Hart and Aaron Boyd and violist Pierre Lapointe — in a performance featuring works by Claude Debussy, Dmitri Shostakovich, and Felix Mendelssohn. The concert, presented by Tuesday Musical, marks the culmination of the Escher’s first year as TMA’s Quartet-in-Residence, a performance and education initiative.
Speltz said that Mendelssohn’s Quartet No. 6 in f makes a great opener. “His last fully completed string quartet is known for its drama — that carefree Mendelssohn that exists in almost all of his music is nowhere to be found. He wrote it after the death of his sister, who was his best friend and sort of life companion, and it’s relentless in its combination of anxiety and passion that at times almost feels like anger.”
by Daniel Hathaway
There were no speeches on Saturday evening when Christopher Wilkins and the Akron Symphony celebrated the fortieth anniversary of E.J. Thomas Hall, just plenty of rich orchestral sound, cleverly designed to make a dry acoustical space ring with festive sonority.
Canny programming added to the celebratory nature of the evening. Brahms’s Academic Festival Overture (led by UA’s Guy Victor Bordo) contributed a sense of gravitas to a joint observance between the ASO and the University of Akron, and UA composer Nikola Resanovic’s infectious clarinet concerto provided bubbles for the anniversary toast. Richard Strauss’s brilliant orchestral tone poem (and monumental tribute to himself), Ein Heldenleben, gave the orchestra an opportunity to show itself off, something it did unabashedly and to brilliant effect.
One big factor in pulling this celebration off so successfully was Wilkins’s decision to fill out the string sections for the occasion, and to elevate winds and brass on a series of risers to better equalize balances and projection. [Read more…]
by Mike Telin
When the Edwin J. Thomas Performing Arts Hall opened at the University of Akron in October 1973, the multi-use space received rave reviews from critics. The 2,955 seat auditorium also became home to the Akron Symphony. On Saturday, October 12 beginning at 8:00 pm, Music Director Christopher Wilkins will lead the ASO in a concert that celebrates the Hall’s 40th anniversary. The program features Brahms’s Academic Festival Overture conducted by Guy Victor Bordo, Nikola Resanovic’s Concerto for Clarinet and Orchestra (Collateral Damage) with Kristina Belisle Jones as soloist, and Strauss’s Ein Heldenleben.
As is the case with many of the world’s concert halls, E.J. Thomas has presented acoustical challenges for the symphony. But as Wilkins points out, “the positives of E.J. Thomas are easy to enumerate. It’s a very comfortable space for the audience and I think it’s an interesting piece of architecture. Also the physical location is ideal because it’s right on the line between the University campus and downtown and as the campus has moved toward downtown that whole area is so active.”
Wilkins says he chose Ein Heldenleben not so much because it was autobiographical for Strauss but rather it was a musical story of an artist’s life. [Read more…]
by Mike Telin
When cellist
Yo-Yo Ma decided in 1998 to launch a collaborative enterprise to promote artistic exchanges between cultures, he named it The Silk Road Project after the 4,000-some miles of ancient trade routes that for two millennia linked parts of Asia with Europe and encouraged the trading of art, knowledge, philosophy and religion — as well as silk and other commercial goods.
Two years later, The Silk Road Project spawned The Silk Road Ensemble, a collective of some sixty performers and composers from more than twenty countries. Fifteen musicians from eight of those countries, including Yo-Yo Ma, are currently on tour to six cities in the United States, and will perform on the Tuesday Musical Association Series at E.J. Thomas Hall in Akron on Thursday, March 14 at 7:30 pm. We spoke with three of them, pipa (Chinese lute) player Yang Wei, violinist Johnny Gandelsman and gaita (Galician bagpipes) player Christina Pato (who will also play piano) to ask how they first became involved in the Silk Road Ensemble and to glean some of their insights into what makes it tick. [Read more…]
by Daniel Hathaway
Art
song fans had a tough choice between two fine baritones last Sunday afternoon. Thomas Hampson’s recital on the Tuesday Musical Series, rescheduled from last Fall, went up at E.J. Thomas Hall in Akron at 2:30. And Edwin Crossley-Mercer was to make his United States recital debut courtesy of the Baldwin Wallace Art Song Festival in Gamble Auditorium in Berea at 4:00. Alas, even the Star Trek transporter couldn’t get you to both performances. [Read more…]