Luciano Berio Archives - Cleveland Classical

Italian violinist Francesco D’Orazio to perform on CMA Series

December 5, 2016 by Mike Telin

by Mike Telin

By the time Italian violinist Francesco D’Orazio decided to learn Luciano Berio’s Sequenza VIII, many violinists were already playing the challenging work. He knew he would need to bring a new approach to the piece if he were to stand any chance of impressing the composer. “So I decided to play it from memory,” D’Orazio said during a telephone conversation from Italy, “and nobody was doing that back then.”

Audiences will have the opportunity to hear the celebrated violinist perform Berio’s Sequenza VIII this week, when he makes his Cleveland debut on Friday, December 9 at 7:30 at Transformer Station as part of the Cleveland Museum of Art’s Performing Arts Series. The concert will feature contemporary Italian works for solo violin.

D’Orazio’s professional relationship with Berio dates back to when the violinist was studying with Carlo Chiarappa, for whom Sequenza VIII was written. [Read more…]

Review: Oberlin Contemporary Music Ensemble (December 7)

December 11, 2012 by Special to ClevelandClassical.com

by Mike Telin

The Italian experimentalist Luciano Berio is arguably one of the most influential composers of the mid- to late twentieth and twenty-first centuries. His group of Sequenzes is a series of thirteen compositions for unaccompanied instruments, including voice, each of which explore and expand on each instruments technical possibilities. On occasion the composer expanded some of the Sequenzes through the addition of instrumental layers. Berio’s Corale (su “Sequenza VIII”) featuring the outstanding violinist and Oberlin faculty member, David Bowlin, served as the centerpiece for the Oberlin Contemporary Music Ensemble concert on Friday, December 7 in Warner Concert Hall.

Although Berio never composed a violin concerto, Corale (1981), is a more than suitable contribution to the canon by the composer. Scored for string orchestra and horns, Berio leaves his haunting Sequenza VIII intact and creates dialogues from within the orchestra that inventively support the solo line melodically, harmonically and rhythmically. Throughout the performance it was clear that David Bowlin has lived with this work for some time. Performing from memory, he made the many complicated technical passages, numerous double stops, and extended soft staccato lines sound effortless. [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.

[Read on…]

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.”

[Read on…]

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