by Mike Telin

Supported by engagingly, yet simple staging by Cara Consilvio, a well-prepared cast of singers told the archetypal story of Cinderella with charm and flair. Framing the production was a sparse but colorful set and wonderful lighting by Dave Brooks. [Read more…]




Is there a more fun-filled, accessible opera than Mozart’s
It was another fascinating afternoon of recent music by members of the Cleveland Composers Guild at CSU’s Drinko Recital Hall on Sunday, October 13. Opening the Guild’s 60th anniversary season, the concert featured chamber music by eight local composers in the usual explorative potluck format.
“It’s always inspirational to hear vocalists, because that’s really how music is supposed to sound,” Cleveland Orchestra cellist Brian Thornton said as he got settled on stage at Orange Village Hall on July 18. He performed as part of M. U. S. i. C.’s (Musical Upcoming Stars in the Classics) 23rd Classical Cabaret, 



Making virtue out of necessity, CIM Opera Theater director David Bamberger introduced a new operatic technique in his production of Mozart’s The Marriage of Figaro on Thursday, November 5 in Kulas Hall: ventriloquism.
Playwright Ken Ludwig may not have invented The Three Tenors, but they surely do owe him a debt of gratitude. His brilliant farce Lend Me a Tenor ran for ten months at the Globe Theatre in London’s West End after opening in March, 1986. Two years later it came to Broadway, and has quite possibly never been out of production since then. Not surprising, as Mr. Ludwig really ‘gets’ tenors, who are definitely not your ordinary run-of-the-mill performers, singers or artistes, whichever title you prefer. And never forget ‘temperamental!’