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Cleveland Orchestra, conductor Dalia Stasevska celebrate music of North America (Nov. 20)

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by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio – Although written by a European composer, Antonín Dvořák’s beloved “New World” Symphony represents a particularly “American” idea of music to many.

An audience favorite ever since its premiere in New York in 1893, this symphony is often performed together with works by American composers — an approach taken by The Cleveland Orchestra the last time they played it here in 2023.

This time around, the program expanded its scope to encompass the North American continent, pairing the Dvořák with a piece by Mexican composer Silvestre Revueltas. Conductor Dalia Stasevska led a memorable performance of both works on Thursday, Nov. 20 at Severance Music Center.

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Cleveland Orchestra performs Mahler, Honegger with philosophical depth (Oct. 2)

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By Daniel Hathaway|Cleveland Classical

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Franz Welser-Möst and The Cleveland Orchestra set a high musical bar early in their new season at Severance Music Center on Thursday with totally committed performances of unique works by Arthur Honegger and Gustav Mahler.

Honegger set out to express the horror of World War II in three arresting movements named after religious texts in his Symphony No. 3, subtitled “Symphonie liturgique.”

And Mahler, who once said, “A symphony must be like the world. It must contain everything,” turned away from that idea in his symphonic song cycle “Das lied von der Erde,” crafting a six-movement work that simply sought to capture the experience of being human on planet Earth.

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Elim Chan directs Cleveland Orchestra at Blossom Music Center in Maurice Ravel’s Shéhérazade with Gustav Mahler’s Symphony No. 1 (Aug. 9)

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by Kevin McLaughlin

This article was originally published on Cleveland.com

CUYAHOGA FALLS, Ohio — The Cleveland Orchestra on Saturday offered a summer evening of musical storytelling that was alluring and colorful without excess.

Under the elegant and incisive direction of Elim Chan at Blossom Music Center, the program paired Maurice Ravel’s Shéhérazade with Gustav Mahler’s Symphony No. 1 in performances redolent of perfume and sonic splendor.

Coinciding with the 150th anniversary of Maurice Ravel’s birth, the opener was Shéhérazade, a 1903 song cycle with words by Tristan Klingsor, the pen name of French poet, painter, and composer Léon Leclère.

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Cleveland Orchestra: Finnish conductor Rouvali dazzles in return performance (July 17)

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by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Santtu-Matias Rouvali has only led the Cleveland Orchestra twice, but he’s already established a formula that works. The Finnish conductor skillfully matches his programs to his conducting style — whimsical, sparkling, and humorous, while remaining precise and rhythmic.

The approach meshes well with the orchestra, who easily responded to Rouvali, just as they did during his debut last fall. On Thursday, July 17, a trio of works by Beethoven, Stravinsky, and Ravel made for a lighthearted evening on the Summers at Severance series.

Nowhere was Rouvali’s magic more evident than in Igor Stravinsky’s Jeu de cartes. The wild card of the program in more ways than one, this lesser-known ballet by the Russian composer depicts an actual card game, where the mischievous Joker is eventually defeated at the end of three rounds. The conductor kept things moving briskly during the brass fanfare that opens each “Deal,” symbolizing the shuffling of the cards.

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Soloists shine in Cleveland Orchestra’s Bach Easter Oratorio, Magnificat and more (Apr. 17)

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by Kevin McLaughlin

This article was originally published on Cleveland.com

CLEVELAND, Ohio — On Thursday, April 17, at Severance Music Center, Canadian guest conductor Bernard Labadie led The Cleveland Orchestra, Cleveland Orchestra Chorus, and four splendid soloists in two of J.S. Bach’s most exultant sacred works — the dramatic Easter Oratorio, and his Magnificat. Bach’s festive Sinfonia from his Cantata 29 completed the program.

Reworked from a secular cantata for a patron’s birthday, Bach’s Easter Oratorio is a less overtly theatrical work than the composer’s Passions. Its uncomplicated story describes the moment that Mary Magdalene (mezzo-soprano Adèle Charvet), Mary of Cleophas (soprano Joélle Harvey) and the apostles Peter (tenor Andrew Haji) and John (bass-baritone Gordon Bintner) come to the tomb of Jesus and find it empty.

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Welser-Möst leads lyrical, hyper-charged Beethoven “Eroica” in Cleveland (Feb. 27)

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by Kevin McLaughlin

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Franz Welser-Möst was greeted with a hero’s welcome at Severance Music Center on Thursday, February 27, by the large and appreciative audience — even before a note of Beethoven’s “Eroica” Symphony had been played. He acknowledged the genuine warmth in the room, and the occasion of his return to the podium after a medical leave.

Opening the program was Shostakovich’s wintery Violin Concerto No. 2, with Leonidas Kavakos as soloist. It’s a mostly gloomy work not easily shaken from its brooding until the Finale — and even then, the raucous dancing is more crazed than jubilant.

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Cleveland Orchestra with Gilbert & Yancich: Oliverio, Haydn & Nielsen pack a program (Jan. 5)

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by Daniel Hathaway

Rebounding with vigor on January 5 from its loaded holiday schedule while other ensembles were still in recovery mode, The Cleveland Orchestra gave a thoroughly enjoyable concert of completely unrelated works, including a new concerto by James Oliverio featuring principal timpani Paul Yancich, and not-so-often performed symphonies by Joseph Haydn and Carl Nielsen.

Presiding over this interesting stew like an adventurous chef, guest conductor Alan Gilbert threw in a surprising ingredient or two that the smallish audience of 800 lapped up as if hungry for something both piquant and nourishing after a diet of Noëls.

The Mandel Hall stage was full of drums — the normal number at the back of the orchestra, plus seven more set in a tight circle where the first violins usually hold forth — for the opening work, Oliverio’s Legacy Ascendant, Concerto for Timpani and Strings, commissioned by The Cleveland Orchestra. [Read more…]

BlueWater Chamber Orchestra: flutist Jessica Sindell plays Mozart

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by Mike Telin

Flutist Jessica Sindell has the distinction of being one of the few members of The Cleveland Orchestra who are native Clevelanders. A graduate of Western Reserve Academy, she was a member of the Cleveland Orchestra Youth Orchestra from 2005 to 2007. Since 2018 Sindell has served as the Orchestra’s assistant principal flute, a position she calls “her dream job.”

In that position, she often finds herself playing the principal part on concertos featuring the week’s soloist. On Saturday, May 7 at 7:30 pm at Church of the Covenant, Sindell will move to the front of the stage when she performs Mozart’s Flute Concerto in D with BlueWater Chamber Orchestra under the direction of Daniel Meyer.

The program, “Taking Flight,” also includes Hilary Tann’s With the Heather and Small Birds and Beethoven’s Symphony No. 2. At 7:00 pm George Leggiero will play a prelude on the McGaffin Carillon. Pay what you wish. Click here to reserve tickets. [Read more…]

BlueWater Chamber Orchestra: “Exploration CLE” at the Breen (Nov. 20)

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by Daniel Hathaway

One of the latest instrumental ensembles to announce a new season of concerts, BlueWater Chamber Orchestra began 2021-2022 with an imaginative program on November 20 at the Breen Center at St. Ignatius High School in Ohio City. The time was unusual — Saturday afternoon at 3:00 pm.

Music director and conductor Daniel Meyer built his playlist around Cleveland themes and scenes. “Exploration CLE” made use of engaging selections from the classical canon and beyond that celebrated “what makes Cleveland so special.” Happily, he and his musicians avoided constructing a visual slide show, choosing to let the music speak for itself. [Read more…]

Margi Griebling-Haigh’s The White Trout: a chamber opera in one act on YouTube

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by Daniel Hathaway

Commissioned by Peter Gallagher in 2012, premiered in 2013 at the convention of the International Society of Bassists, and revised in 2019, Margi Griebling-Haigh’s 25-minute chamber opera, The White Trout, was released in mid-November on YouTube.

The piece embellishes an Irish folk tale from County Mayo as told by Samuel Lover and collected by William Butler Yeats. Predictably fantastical, the story centers around a beautiful woman whose fiancé, a king’s son, is murdered and thrown into a lake. The grieving bride eventually disappears (the work of fairies?) about the time villagers notice a strange white trout in the water. [Read more…]

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