Il matrimono segreto Archives - Cleveland Classical

Review: CIM Opera: Il matrimonio segreto

November 13, 2012 by Special to ClevelandClassical.com

by J.D. Goddard

On Thursday evening November 8 I attended the second of four performances of Cimarosa’s opera buffa, Il matrimonio segreto (The Secret Marriage) at the Cleveland Institute of Music’s Kulas Hall. There were two casts: Wednesday / Friday and Thursday / Saturday. Director David Bamberger and conductor Harry Davidson handily crafted a charming performance showcasing the multi-talented vocal and instrumental students who inhabit the halls and practice rooms of CIM. Sets and lighting by Dave Brooks, costumes, wigs and makeup by Allison Garrigan and English supertitles by Jana Mosby and Paul Zweifel wonderfully enhanced the stage tableau and visually amplified the opera’s innate buffastyle with formidable simplicity.

In 1792, Emperor Leopold II commissioned Domenico Cimarosa to write his opera Il matrimonio segreto on a libretto by Giovanni Bertati based on the play The Clandestine/Secret Marriage (1766) by George Colman and David Garrick. The opera was premiered in Vienna in 1792, two months after the death of Mozart. Love triangles and romantic chicanery in 18th century Italy permeate this two-act opera, which unfurls slowly in the first act and becomes more frolicsome in the second. [Read more…]

Apollo’s Fire: “Hope and Solitude” featuring countertenor Reginald Mobley (Nov. 17)

by Daniel Hathaway

Apollo’s Fire concertmaster and assistant artistic director Alan Choo curated an thoughtful, unusual, and thoroughly engaging program at Rocky River Presbyterian Church on Sunday afternoon, November 17.

Featuring the formidable vocal gifts of countertenor Reginald Mobley, the program managed to gather under a single banner an orchestral suite and other selections by Henry Purcell, lute music by John Dowland, a suite by John Eccles, and an aria from J.S. Bach’s “Hunting” cantata as well as his solo cantata Ich habe genug. The well-attended concert ended with Spirituals that fit remarkably well into a menu of music played on period instruments.

In his director’s notes, Alan Choo wrote that this program “epitomizes the universality of music and its ability to uplift, heal, and revitalize the human spirit,” quoting the text of 17th-century Anglo-Welsh royalist poet Katherine Phillips’ O Solitude as set by Henry Purcell. [Read on…]

Conductor Santtu-Mathias Rouvali wears his heart on his sleeve in Cleveland Orchestra debut

By Stephanie Manning | Cleveland Classical

Originally published on Cleveland.com

CLEVELAND, Ohio — Change of plans recently led to unexpected opportunities at The Cleveland Orchestra. And so, this week, guest conductor Santtu-Mathias Rouvali seized the moment. With the Mahler “Das Lied von der Erde” program moved to next season, a rare blank slate appeared. Rouvali stepped in on short notice to make his Cleveland debut presenting an impassioned program.

The three pieces performed on Thursday, Nov. 21 — which will be heard again on Nov. 22 and 23 — share a distinctive expressivity, and each represented an introduction of their own.

Carl Nielsen’s Overture to “Maskarade“ set the scene for the Danish composer’s opera, a well-known work in his home county but rarely played elsewhere. Its five minutes include a whirling ballroom waltz, which Rouvali accentuated by coaxing the brass to cut through the texture. The conductor quickly revealed his taste for flourishes, his motions imbued with a fluttery, cursive affect.

[Read on…]

Cleveland Orchestra Youth Orchestra impresses with Boulanger, Copland, and Rachmaninoff

By Daniel Hathaway | Cleveland Classical

This article was originally posted on Cleveland.com

CLEVELAND, Ohio — Anyone who believes that tired old canard that classical music is dead or dying needed to hear conductor Daniel Reith and the Cleveland Orchestra Youth Orchestra play music by Lily Boulanger, Aaron Copland, and Sergei Rachmaninoff in their Autumn Concert at Severance Music Center on Sunday afternoon, November 24.

That challenging program tested COYO’s musicianship. Not only does it run deep, but it’s so sophisticated that the young players can make Boulanger sound French, Copland American, and Rachmaninoff Russian.

Boulanger’s D’un Matin de Printemps was light and airy, conjuring up in its five minutes a Gallic Spring morning with lovely solos by concertmaster Aika Birch and individual winds. Surges suggested the burgeoning surprises nature still had in store.

[Read on…]

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