Mario Diaz-Moresco Archives - Cleveland Classical

Rocky River Chamber Music Society: Mario Diaz-Moresco & Spencer Myer (Mar. 9)

March 23, 2020 by Nicholas Stevens

by Nicholas Stevens

That old saw about absence making the heart grow fonder: how true it feels now! With concerts canceled to prevent the kinds of confined massing that facilitates the spread of COVID-19, musicians are suffering. Critics have already filed reports on the grim uncanniness of clear schedules and empty halls. Just before this writer’s exile from the scene, however, a spark of life shot skyward, and now stands as a last memory of live performance before social distancing. [Read more…]

Rocky River Chamber Music Society:
pianist Spencer Myer &
baritone Mario Diaz-Moresco

March 3, 2020 by Jarrett Hoffman

by Jarrett Hoffman

On Monday, March 9 at 7:30 pm at West Shore Unitarian Universalist Church, the Rocky River Chamber Music Society will present pianist Spencer Myer and baritone Mario Diaz-Moresco in a free program of art song and solo piano works by Beethoven, Debussy, Barber, and Bolcom.

The recital begins with Beethoven’s An die ferne Geliebte, a work that deserves a special asterisk in the repertoire of this duo and couple: they read through it on their first date. (As Diaz-Moresco said by telephone, they also sang Schumann’s Dichterliebe. He laughed, adding that things have happily turned out better than they do in those poems by Heinrich Heine.)

Asked about that first time reading music together, Myer said in a separate phone call that he remembers an instant connection. “And that’s kind of how our relationship has been the entire six years. Everything has just been easy and natural, and I think that comes through when we perform together as well.” [Read more…]

CIM Opera’s engaging Puccini double bill prompts both laughs and tears (Nov. 7)

by Stephanie Manning

The three one-act operas that make up Giacomo Puccini’s Il trittico (The Triptych) are typically connected by theme, rather than location. Although the trio of works take place in 13th-century Paris, 17th-century Siena, and 20th-century Florence respectively, they all deal with keeping someone’s death a secret — whether tragically or comedically.

CIM Opera Theater’s recent production of two-thirds of the triptych brought the action into one particular place and time, as director Dean Southern moved both Suor Angelica and Gianni Schicchi into 1918’s New York City. What stood out more, however, were the impressive performances from across the large cast, which I heard on November 7 in Kulas Hall.

[Read on…]

Oberlin Orchestra with the Poiesis Quartet in Finney (Oct. 31)

by Daniel Hathaway

Fresh from winning the grand prize at the prestigious Banff Competition on the last day of August, the Poiesis Quartet (Sarah Ying Ma & Max Ball, violins, Jasper de Boor, viola, and Drew Dansby, cello) took a late October victory lap at the Oberlin Conservatory, returning to their place of birth as an ensemble to give master classes and solo with the Oberlin Orchestra.

Judging from the turnout in Finney Chapel on Friday, it might not have been a prizewinning idea to schedule a major orchestra concert on a college campus on Halloween, but there was nothing slim about the sound that the stage full of musicians produced. Brilliantly scored works by Carlos Simon, John Adams, Angélica Negrón, and Zhou Tian, were conducted with precision by Rafael Jiménez.

[Read on…]

Cleveland Orchestra makes a sinister showing of Alfred Hitchcock’s Psycho (Nov. 5)

by Peter Feher

A violin bow is an unlikely murder weapon. But in the hands of composer Bernard Herrmann, the slashing motion of a string instrument seems almost one and the same with the stabbing knife onscreen in Alfred Hitchcock’s 1960 classic Psycho.

The infamous soundtrack to secretary Marion Crane’s final moments in the shower — and also to private investigator Milton Arbogast’s stumbling death down the stairs later in the film — is horrifyingly simple. A series of screeching down-bows begins in the first violins and then stacks in dissonant intervals as the remaining string sections join in. The gesture is more like a Foley effect than music per se, evoking something between a human scream and the shriek of metal against metal.

[Read on…]

See all reviews

Follow ClevelandClassical.com

Contact us