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Cleveland Orchestra with Slobodeniouk & Hamelin (Oct. 24)

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by Nicholas Stevens

Tell a classical fan that you recently heard an ensemble play a piece from the 1920s that features a solo snare drum, and their mind might snap to any of a number of dubious ultramodern experiments of that era. A late October program by The Cleveland Orchestra at Severance Hall, at once offbeat and logical in its selection of delights, short-circuited stereotypical associations of the idiosyncratic with the avant-garde. Ovations for percussionist Marc Damoulakis and clarinetist Afendi Yusuf capped a concert devoted to Romanticism in all its strangeness. [Read more…]

Summers@Severance: Mozart’s C-Minor Mass with Matthew Halls (Aug. 2)

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by David Kulma

There is a certain je ne sais quoi about minor-key Mozart. The dark, brooding colors that rarely appear in his more plentiful major-key works give his wonderfully inevitable music a grand power and solemnity few other composers have ever matched. His Symphony No. 40 in g and Requiem in d are only the two most famous examples. Their major-key sections take on a new, heavenly meaning in contrast with the overall somberness. The Cleveland Orchestra’s Summers@Severance concert on Friday, August 2 was a great opportunity to hear another of Mozart’s minor-key marvels: the Great Mass in c, K. 427, with four excellent vocal soloists and the Blossom Festival Chorus, all conducted with flair by Matthew Halls. [Read more…]

Blossom: Rhapsody in Red, White, and Blue with The Cleveland Orchestra (July 6)

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by Rory O’Donoghue

As the lights dimmed and conductor Roderick Cox readied his baton, the boisterous crowd at Blossom hushed in anticipation of pianist Aaron Diehl’s take on Gershwin’s Rhapsody in Blue on Saturday, July 6. Everyone knows the opening clarinet lick — the low velvet trill, the raucous rise — but this time, a surprise! A bird rose from somewhere behind the percussion section and dive-bombed the first violins. A few players scattered amidst the kerfuffle, shouting, before a valiant audience member somehow snatched the bird out of the air and marched it out of the pavilion to great applause. Cox restored order and clarinetist Afendi Yusuf’s solo bloomed from the back of the orchestra. [Read more…]

ChamberFest Cleveland Concert 6: “Forging New Paths” at Mixon (June 23)

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by Nicholas Stevens

“Forging New Paths,” the title of ChamberFest Cleveland’s sixth concert this season, refers to a time when critics feared that classical music was dying. In an article titled “New Paths,” Robert Schumann predicted that his young colleague Brahms would become German art music’s savior. The unstated premise was that it needed one. [Read more…]

Cleveland Orchestra Prometheus Project I: Eight Beethoven symphonies in four concerts

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by David Kulma

tco-fwm-092416Severance Hall was filled to the brim with Beethoven lovers for the first four installments of The Cleveland Orchestra’s 100th-season-capping festival.  Framed as an exploration of Ludwig van Beethoven’s nine symphonies through ancient Greek myth, The Prometheus Project began with dazzling performances of the first eight symphonies and four overtures led by music director Franz Welser-Möst from Thursday, May 10 through Sunday, May 13. [Read more…]

Cleveland Orchestra opens Centennial Season with Vixen redux and stunning Rite of Spring (September 26 & 28)

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by Daniel Hathaway

Vixen-Perf-FarmyardWhat a week at Severance Hall! On Tuesday, September 26, The Cleveland Orchestra’s revival of Leoš Janáček’s opera The Cunning Little Vixen received its third and final performance, and two days later, Franz Welser-Möst returned to the podium to lead the Orchestra in a spellbinding performance of Stravinsky’s The Rite of Spring. [Read more…]

Cleveland Orchestra & Chamber Chorus: Bach’s St. John Passion at Severance (Mar. 9)

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by Daniel Hathaway

TCO-Herr-unser-HerrscherUnder the direction of Franz Welser-Möst on Thursday evening, members of The Cleveland Orchestra and Chorus and an excellent team of soloists made a strong case for a not-so-historically informed approach to Bach’s sacred vocal works. The quality of Welser-Möst’s interpretation and the excellence of its execution got right to the heart of the composer’s Passion According to St. John and left a powerful emotional impression. [Read more…]

Cleveland Orchestra: Fridays@7 with William Preucil & Brett Mitchell (March 3)

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by Daniel Hathaway

Mitchell-TCOFor his next-to-last appearance with The Cleveland Orchestra before taking up his new duties with the Colorado Symphony, associate conductor Brett Mitchell presided over a program of American music on Friday evening at Severance Hall. Two “Third” works were on the program: Aaron Copland’s stirring Third Symphony, and Augusta Read Thomas’s elusive Third Violin Concerto with concertmaster William Preucil as soloist. [Read more…]

Summers@Severance: Strauss & Brahms (July 8)

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by Nicholas Jones

TCO&COCTwo Romantic meditations on death comprised the first of this year’s Cleveland Orchestra Summers @Severance programs last Friday evening — Richard Strauss’s Death and Transfiguration and Johannes Brahms’s A German Requiem — both works of ambitious scope and seriousness, led by music director Franz Welser-Möst.

The Romantics knew how to face death. John Keats declared himself “half in love with easeful death.” “Death is the mother of beauty,” asserted Wallace Stevens, that modernist poet with a Romantic soul. [Read more…]

Cleveland Orchestra Fridays@7 with Kirill Gerstein & Andrés Orozco-Estrada (May 6)

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by Daniel Hathaway

GERSTEIN-KirillThe Cleveland Orchestra packed a full dose of excitement into 75 minutes on May 6 with its final Fridays@7 concert of the season. Led by Houston Symphony music director Andrés Orozco-Estrada and further animated by the dark piano pyrotechnics of Kirill Gerstein, music by Rachmaninoff and Stravinsky left different lasting impressions on the ear. [Read more…]

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