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The Cleveland Orchestra:
Ax plays Chopin (Apr. 7) 

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by Peter Feher 

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.

Actually, some of the Orchestra’s players — along with the week’s soloist, pianist Emanuel Ax — did end up at the museum the following evening, for a benefit concert in support of Ukraine. But before their night off, the performers put the relationship between music and art on dazzling display for the audience at Severance. Alan Gilbert conducted four works that ranged from the 19th century to the 21st and that showed what’s changed in the culture since. [Read more…]

Emanuel Ax to open in-person Tuesday Musical Series March 25

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by Daniel Hathaway

Thanks to COVID-19, the earth has cycled through four seasons since pianist Emanuel Ax has played a solo recital. He’s looking forward to making up for that with an all-Chopin program on the Tuesday Musical Series at E.J. Thomas Hall in Akron on Thursday, March 25 at 7:30 pm.

This time around, the annual Margaret Baxtresser Concert will mark the Association’s first in-person event since the pandemic began, and the management has made sure that all performers have had their vaccinations, and that distancing protocols are respected in the seating plan.

Ax has chosen works from Chopin’s later years: the Two Nocturnes, Op. 55, the Polonaise Fantasie, Op. 61, the Three Mazurkas of Op. 56, the Barcarolle, Op. 60, the Nocturne in E, Op. 62, No. 2, and Scherzo No. 4, Op. 54.

I reached “Manny” Ax by telephone at his getaway in the Berkshires to chat about his program, which I found a bit unusual. Lots of pianists program Chopin, but you don’t often see a complete recital dedicated to his works.

“I’ve never done it, but it’s been done,” he said. “This program is meant to feature incredible masterpieces from Chopin’s later years. I learned some of it that I’d never played before during quarantine and I’m excited about trying out the program. Of course, I’m going to be very nervous because I haven’t done a recital for a year. I hope people will forgive me for things, because it’s going to be difficult in that sense.” [Read more…]

Cleveland Orchestra “In Focus” 3: Ax plays Haydn, FWM leads Bartók

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by Daniel Hathaway

Full-length symphony orchestra concerts normally feature three works and run nearly two hours including intermission. The pandemic, which has changed so many things, has truncated programs, both to shorten possible exposure time and to avoid the social mixing of a mid-concert interval.

Thus the third “In Focus” performance by The Cleveland Orchestra that debuted on the Adella platform on November 12 lasts only 54 minutes from stem to stern, including a conversation between Emanuel Ax and Orchestra cellist Martha Baldwin, and features only two highly contrasting works led by music director Franz Welser-Möst. The performances continue to be available on the Adella platform until March.

[Read more…]

Cleveland Orchestra:
Episode 3 of “In Focus”

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by Mike Telin

“We have Severance Hall and we have Blossom Music Center, and Adella feels like our third home — a digital home for the 21st century,” Cleveland Orchestra chief brand officer Ross Binnie said during a recent telephone conversation.

On Thursday, November 12 at 7:00 pm, The Cleveland Orchestra will present “In Focus: Episode 3.” Recorded at Severance on the 22nd and 23rd of October under the direction of Franz Welser-Möst, the program features Haydn’s Piano Concerto in D with Emanuel Ax as soloist, and Bartók’s Divertimento for Strings. Click here to access the Orchestra’s Adella streaming platform (available on demand following the premiere), and here to purchase Adella premium.

Although behind-the-scenes discussions had centered around the creation of digital concerts for some time, Binnie noted that “like our ‘On a Personal Note’ podcasts, creating ‘In Focus’ was accelerated because of the pandemic.”

While acknowledging that they are not the only orchestra to offer their own digital platform, Binnie does see Cleveland’s as being a little different from the others. “We’re all trying to tell our stories, but I think ours is more focused on our music-making than our history, although there is a part of the site that’s devoted to archives.”

Ultimately, when audiences cannot attend in-person performances, Adella provides a way for the Orchestra to stay in touch with their donors, subscribers, and single-ticket buyers. “We typically play to 400,000 people in a year, and Adella helps us transport our story across the world. It helps us keep in touch: it’s great for our audiences in Miami, it’s great for our audiences in Europe and Asia — they can see what we’re doing the rest of the year, which I think is a tremendous asset.” [Read more…]

Cleveland Orchestra with Jakub Hrůša (Nov. 18)

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by Daniel Hathaway

Asked to list some Czech composers, most of us could immediately come up with Dvořák, Smetana, Martinů, Janáček, and maybe Suk. Miloslav Kabeláč’s name would probably not come tripping off the tongue, unless you’re a performer who has played his Wind Sextet. So Cleveland Orchestra audiences learned something from Czech conductor Jakub Hrůša the weekend of November 15-18, when he brought Kabeláč’s Mystery of Time to his guest appearances at Severance Hall. [Read more…]

Conductor Jakub Hrůša returns to Severance Hall

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by Mike Telin

When Czech conductor Jakub Hrůša makes his annual visit to Cleveland, audiences have come to expect that the concert will include a gem that is rarely, if ever, performed at Severance Hall. His past programs have included Martinů’s Parables, Dvořák’s The Golden Spinning Wheel, Janáček’s Jealousy, and Suk’s Asrael Symphony.

On Thursday, November 15 at 7:30 pm, Hrůša will keep that tradition alive when he leads The Cleveland Orchestra in Miloslav Kabeláč’s Mystery of Time. “I think he is the most important symphonist of 20th-century Czech music after Martinů,” the conductor said during a telephone interview. The concert will also include Stravinsky’s Capriccio (for piano and orchestra) featuring Emanuel Ax, and Shostakovich’s Symphony No. 5. The program will be repeated on Saturday, November 17 at 8:00 pm, and Sunday November 18 at 3:00 pm. Tickets are available online.

Hrůša noted that the lineage of Czech symphonic composers begins with Dvořák, whom he called the “founder” of that repertoire. “Then you have Smetana, who was not interested in the symphony but wrote symphonic poems. After that is [Zdeněk] Fibich, then Janáček — who never wrote a symphony, then Martinů with his six symphonies. There is always the question of who is next.”

[Read more…]

Pianist Emanuel Ax returns to Severance Hall this weekend

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by Mike Telin

emanuel_ax“It’s an incredible thrill to be able to play with Vladimir Ashkenazy. When I was a young student, he was one of the two or three greatest pianists in the world. I went to hear him all the time and was awed by everything that he did,” pianist Emanuel Ax said during a recent telephone conversation. “I continue to be awed, but he is such a nice man that you feel like you can talk to him normally, and that is very nice. He has always been one of my idols, so it is going to be very special to be onstage with him. He also has a long relationship with the Orchestra, which makes this very exciting.”

On Friday, November 3 at 8:00 pm at Severance Hall, Emanuel Ax will perform Beethoven’s Piano Concerto No. 1 with The Cleveland Orchestra under the direction of Vladimir Ashkenazy. The program, which also includes Elgar’s Serenade and the Enigma Variations, will be repeated on Saturday the 4th at 8:00 pm and Sunday the 5th at 3:00 pm. Tickets are available online. [Read more…]

Ross Binnie talks about The Cleveland Orchestra’s fall season

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by Mike Telin

binnie-rossAs The Cleveland Orchestra gears up to launch its fall Severance Hall season, we caught up with Ross Binnie, the Orchestra’s Chief Marketing Officer, and asked him to give his insights into the array of programs. He described them as “a blend of the curious and the familiar which will be wonderful for the audiences.”

The season kicks off on September 29 and 30 when Franz Welser-Möst leads performances of Ives’s Symphony No. 3 (“The Camp Meeting”) and Sibelius’s Symphony No. 2. And organist Paul Jacobs (below) will make his Cleveland Orchestra debut as soloist in Copland’s Symphony for Organ and Orchestra. [Read more…]

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