Malcolm Martineau Archives - Cleveland Classical

Baldwin Wallace Art Song Festival: Susan Graham with Bradley Moore (May 26)

May 30, 2016 by Daniel Hathaway

by Daniel Hathaway

Susan Graham’s splendidly communicative recital program on the Baldwin Wallace Art Song Festival on Thursday evening, May 26 in Gamble Auditorium, involved slipping twenty extra songs in between the original eight of Robert Schumann’s Frauenliebe und -leben. That resulted in a rich, nuanced commentary on the composer’s chronicle of a woman’s life cycle from the first glimpse of her beloved all the way through marriage, pregnancy, and childbirth, ending with his demise. [Read more…]

Baldwin Wallace Art Song Festival: a conversation with Susan Graham

May 24, 2016 by Daniel Hathaway

by Daniel Hathaway

One of the most versatile mezzo-sopranos in the business, Susan Graham will visit the Baldwin Wallace Art Song Festival for a recital with pianist Bradley Moore on Thursday evening, May 26 in Gamble Auditorium. The recital will interleave songs from Robert Schumann’s Frauenliebe und -leben with pieces by other composers ranging from Grieg, Strauss, and Tchaikovsky to Ravel, Poulenc, and Granados.

“It’s a fantastic program,” Graham said in a recent telephone conversation from San Francisco, where she was singing Berlioz’s La Mort de Cléopâtre with Michael Tilson Thomas and the San Francisco Symphony. [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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