Gian Carlo Menotti Archives - Cleveland Classical

Nightingale Opera Theatre: Menotti’s The Consul in Hudson (July 21)

July 25, 2017 by Timothy Robson

by Timothy Robson

Gian Carlo Menotti’s 1950 cold-war era opera The Consul received a strong performance on July 21 by the Nightingale Opera Theatre at the intimate Barlow Community Center theater in Hudson. [Read more…]

Nightingale Opera Theater to stage Gian Carlo Menotti’s The Consul

July 18, 2017 by Samantha Spaccasi

by Daniel Hathaway

At the same time last year that Nightingale Opera Theater executive director Melissa Davis was thinking about a title to produce in 2017, she was also feeling distraught by stories she read about the emerging refugee crisis.

“I listened to Menotti’s The Consul and was so moved by it that I thought there was no better time to perform the work than this summer.” That plan has now come to fruition: two performances are scheduled for Friday, July 21 at 7:30 pm and Sunday, July 23 at 2:30 pm in the Barlow Center in Hudson. (Read a plot synopsis here.) [Read more…]

“Strawberry Fields” and “The Telephone” — Oberlin Winter Term Operas in a disco: (January 30)

February 3, 2015 by Daniel Hathaway

by Daniel Hautzinger

Opera in a dance club? Why not? Opera can be intimidating and ridiculous, with its gilded houses, extravagant length, fantastic plots, and the bewildering phantasmagoria that generally appears onstage. There’s a reason why it’s parodied so frequently. So it was refreshing to see digestible, one-act operas about everyday people presented by Oberlin Opera Theater in the basement Dionysus Disco, better known to the sweaty college revelers who are its normal customers as the ‘Sco. [Read more…]

Cleveland Orchestra’s holiday concerts return with plenty of festive cheer (Dec. 11)

by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio — If the twinkling lights, leafy green garlands and festive poinsettias didn’t already clue you in, the holidays have arrived at Severance Music Center. ‘Tis the season for annual traditions — including The Cleveland Orchestra’s holiday concerts, which began on Wednesday evening.

Running through December 22, the programs feature plenty of seasonal classics plus some potential new favorites. The first performance proved that this mix is a delightful recipe for festive cheer.

“Look at you all, out on a school night!” conductor Sarah Hicks proclaimed joyfully from the podium. Just as many concertgoers donned red outfits to get into the spirit, Mandel Concert Hall was also decked out with decorations and stage lighting effects.

Oberlin Conservatory convincingly tells Omar’s story (Dec. 8)

by Stephanie Manning

The Cleveland premiere of Rhiannon Giddens’ and Michael Abels’ Pultizer Prize-winning opera Omar on December 8 at the Maltz Performing Arts Center proved that concert productions of opera can succeed without sets, elaborate costumes and extensive staging. Indeed, the Oberlin Conservatory presentation offered more than enough to keep the audience in the crowded house enthralled.

The Opera, which was also presented at Oberlin’s Finney Chapel two days earlier, is based on the 1831 autobiography of Muslim scholar Omar ibn Said, the only such work written by an enslaved person during their enslavement, and the only such document written in Arabic.

Rhiannon Giddens’ brilliant libretto chronicles the life of ibn Said, beginning in present-day Senegal and following him through his capture, journey via the Middle Passage, and enslavement in North and South Carolina. [Read on…]

Kirill Gerstein is captivating on piano as Cleveland Orchestra recital series continues (Dec. 4)

by Daniel Hathaway

This article was originally published on Cleveland.com

CLEVELAND, Ohio — There’s no dearth of first-class piano performances to enjoy in Northeast Ohio, but Kirill Gerstein’s contribution to the collective wealth Wednesday night was extraordinary both in concept and execution.

Playing as part of the Cleveland Orchestra’s ongoing recital series at Severance Music Center, Gerstein wove an overarching narrative from the 21 little masked ball portraits in Robert Schumann’s “Carnaval.” Then he helped composer Francisco Coll blow up the idea of the waltz in two striking, brand new pieces written for Gerstein and joined Maurice Ravel in redefining that most civilized of dances in a cataclysmic performance of “La valse.”

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