by Daniel Hathaway
During his visit to New York in 1907 to supervise the Metropolitan Opera’s first productions of Madama Butterfly and Manon Lescaut, Giacomo Puccini got the idea of writing an opera to be set during the 1849 California Gold Rush after seeing David Belasco’s 1905 play, The Girl of the Golden West. The opera received its world premiere by the MET in 1910.
This week, three concert performances of La Fanciulla del West serve as the centerpiece of The Cleveland Orchestra’s Jack, Joseph and Morton Mandel Opera & Humanities Festival this month at Severance Music Center and around town, a richly-programmed look into the concept of what James Truslow Adams dubbed “The American Dream” in his 1931 Great Depression Era book, The Epic of America.
For the Cleveland production, which opened on May 13, the Orchestra is front and center. The principal singers perform from a raised platform connected to the organ chamber whose front pipes have been removed for entrances and exits. Secondary characters sing from another platform on stage right, and the male chorus is located on the other side. [Read more…]
Perhaps Franz Schubert’s Symphony No. 8 is more complete than its “Unfinished” moniker implies. After all, the composer wrote and orchestrated two full movements, creating a kind of standalone half-symphony. But Severance Music Center audiences heard this work in a new way on January 13, when The Cleveland Orchestra and Franz Welser-Möst interlaced Schubert’s two memorable movements with an unexpected partner: Alban Berg’s Three Pieces from Lyric Suite.
IN THIS EDITION:
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. 
The Cleveland Orchestra kept the music-making all in the family last week. Franz Welser-Möst conducted, a favorite composer stopped by, and first associate concertmaster Peter Otto played soloist, taking on a piece with its own history at Severance.
In 1936 British composer William Walton was faced with a decision: should he write a piece for violinist Joseph Szigeti and clarinetist Benny Goodman, or a concerto for Jascha Heifetz? On December 7, 1939 the famed violinist gave the premiere of Walton’s 
On paper, last week’s Cleveland Orchestra concerts might have lacked a little color: two numbered symphonies and a piece of new music with an abstract title. But Thursday’s performance at Severance Music Center under the direction of Franz Welser-Möst came to vibrant life, thanks in part to the sparkling world premiere at the program’s center.