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Cleveland Orchestra Chorus celebrates 75 years with Corigliano, Whitacre (Oct. 24)

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by Daniel Hathaway

This article was originally published on Cleveland.com

CLEVELAND, OHIO — On Saturday, October 24, Lisa Wong and The Cleveland Orchestra Chorus threw themselves a 75th Anniversary party in Mandel Concert Hall at Severance Music Center. Packing the auditorium with an enthusiastic audience that included a significant number of young people, they gifted them with superb performances of works by American composers John Corigliano and Eric Whitacre.

Serenaded on arrival in the Grand Foyer by the Cleveland Orchestra Children’s Chorus, the audience got a taste of the impressive vocal prowess to come, and the adult singers were greeted with applause when the Cleveland Orchestra Chorus very efficiently filed onstage.

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Cleveland Orchestra’s dance-focused program at Blossom welcomes new face, new piece (July 25)

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by Stephanie Manning

This article was originally published on Cleveland.com

CUYAHOGA FALLS, Ohio — “Dance” was the operative word and cello the instrument of choice on Saturday evening at Blossom Music Center.

The 20th-century program on July 25 sandwiched The Cleveland Orchestra’s first performance of Bohuslav Martinů’s Cello Concerto No. 1 between two pieces inspired by the art of movement: Zoltán Kodály’s Dances of Galánta and Sergei Rachmaninoff’s Symphonic Dances. Heading it all up was conductor Kevin John Edusei, making a memorable Cleveland Orchestra debut.

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Heights Chamber Orchestra with Mark Kosower (Mar. 22)

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by Kevin McLaughlin

Joseph Haydn’s C major Cello Concerto has had an unusual life. Written in the 1760s, likely for the Esterházy cellist Joseph Weigl, it disappeared for nearly two centuries before resurfacing in a Prague museum in 1961. Since then it has become central to the cello repertory — admired for its clarity, proportion, and wit.

Mark Kosower, principal cello of The Cleveland Orchestra, brought distinction to the Heights Chamber Orchestra’s program on Sunday, March 22 at St. Paul’s Episcopal Church, shaping Haydn’s Concerto and Tchaikovsky’s Andante cantabile with clarity and poise. He made Haydn’s charm into a jewel, and the afternoon into something memorable.

Kosower is a smiling, modest man onstage, but his musicianship told the larger story. His playing was assured and clear, his passagework was clean and sonorous, and his  phrasing logical. In the intimate space, you could watch his left hand at work — precise, disciplined, like five little soldiers carrying out orders. The cadenzas in all three movements were his own — feats of daring in classical style, full of well-turned, lucid flourishes.

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‘Frenzied Tangos’ from Adams, Diehl headline Cleveland Orchestra premieres (Feb. 19)

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by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Just like his music, insistent and perpetually in motion, John Adams has little interest in slowing down. At 79, the celebrated composer and conductor is as busy as ever, and he’s never far from his next premiere.

A Cleveland Orchestra regular, Adams returned to the Mandel Concert Hall podium on Thursday, February 19 for “Frenzied Tango,” a program of firsts that reunited him with pianist Aaron Diehl. The performance revealed plenty of gems, both in his own works and those he chose to precede them.

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Pianist Daniil Trifonov brings Brahms’ vision to life with Cleveland Orchestra (Oct. 9)

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by Peter Feher

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Johannes Brahms took more than two decades to compose a follow-up to his First Piano Concerto, but audiences at Severance Music Center have only had to wait two years for the sequel.

Pianist Daniil Trifonov is back with The Cleveland Orchestra this week, tackling Brahms’ monumental Second Concerto after playing the First here in 2023. And in a neat pairing, Music Director Franz Welser-Möst has programmed Sergei Prokofiev’s Seventh Symphony as the companion piece — the Sixth having accompanied Trifonov on his previous appearance.

Reversing the usual performance order (soloist on the first half, big symphonic work on the second), Brahms was the main event after intermission Thursday in Mandel Concert Hall. It’s a sensible way to present a piece that often resembles a symphony in style, scope and sheer impact.

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Cleveland Orchestra performs Mahler, Honegger with philosophical depth (Oct. 2)

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By Daniel Hathaway|Cleveland Classical

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Franz Welser-Möst and The Cleveland Orchestra set a high musical bar early in their new season at Severance Music Center on Thursday with totally committed performances of unique works by Arthur Honegger and Gustav Mahler.

Honegger set out to express the horror of World War II in three arresting movements named after religious texts in his Symphony No. 3, subtitled “Symphonie liturgique.”

And Mahler, who once said, “A symphony must be like the world. It must contain everything,” turned away from that idea in his symphonic song cycle “Das lied von der Erde,” crafting a six-movement work that simply sought to capture the experience of being human on planet Earth.

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Cleveland Orchestra delights with homage to Cuyahoga Valley National Park at Blossom Music Center (Aug. 16)

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by Kevin McLaughlin

This article was originally published on Cleveland.com

CUYAHOGA FALLS, Ohio – The Cleveland Orchestra brought together music, nature and friendship in a program as warm and satisfying as a summer night under the trees at Blossom Music Center on Saturday.

Conducted by Daniel Reith — making his final appearance as the ensemble’s associate conductor — the concert offered the regional premiere of Gabriella Smith’s Rewilding, Max Bruch’s seldom-heard Violin Concerto No. 2 and Edward Elgar’s beloved Enigma Variations.

Commissioned in honor of the 50th anniversary of Cuyahoga Valley National Park — where Blossom is situated — Rewilding is Smith’s exuberant tribute to ecological restoration.

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Cleveland Orchestra explores humanity’s evolution in Strauss’ “Also Sprach Zarathustra” (Feb. 7)

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by Peter Feher

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Richard Strauss must have suspected that he would always be mistaken for another composer. How else do you explain Also Sprach Zarathustra— the piece that contains his most famous minute-and-a-half of music, plus an extended homage to Johann Strauss Jr.?

The Cleveland Orchestra is playing up the Strauss connection this weekend with an extravagant concert program that borrows a bit from the style of the Waltz King. Although nothing by Johann Strauss Jr. is officially on the bill, his presence and flair are felt in Also Sprach Zarathustra and in the intoxicating sweep of Maurice Ravel’s La Valse.

The Orchestra’s performance on Friday, February 7, at Severance Music Center started strong and ended with real panache. Guest conductor Thomas Guggeis, the 31-year-old general music director of Oper Frankfurt — here making his U.S. orchestral debut — led sharp, highly stylized interpretations that would be equally at home on the continent or in Cleveland.

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The Cleveland Orchestra: A Conversation with Thomas Guggeis

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by Mike Telin

“Franz Welser-Möst was one of my first big supporters,” conductor Thomas Guggeis said during a telephone conversation. “I was his assistant at the Salzburg Festival early in my career, so it’s a real honor for me to be making my American orchestral debut with his amazing orchestra.

On Friday, February 7 at 7:30 pm in Mandel Concert Hall at Severance Music Center, Guggeis will lead The Cleveland Orchestra in Richard Strauss’ Also sprach Zarathustra, Henri Dutilleux’s Tout un monde lointain…, with principal cello Mark Kosower as soloist, and Maurice Ravel’s La valse. The program will be repeated on Saturday at 8:00 pm and Sunday at 3:00 pm. Tickets are available online.

Born in 1993 in Dachau, Bavaria, Thomas Guggeis has served as general music director of Oper Frankfurt and artistic director of the Frankfurt Museum Concerts since the 2023–24 season. He made his debut in Frankfurt in May 2021 with Mozart’s Requiem, followed by Richard Strauss’s Ariadne auf Naxos. Guggeis made his first North American appearance in 2023 at the Metropolitan Opera leading Wagner’s Der Fliegende Holländer. The same year he conducted the work for Santa Fe Opera.

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Cleveland Orchestra, Kent Blossom Chamber Orchestra delight in Blossom performance (July 27)

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This article was originally published on Cleveland.com

by Kevin McLaughlin | ClevelandClassical.com

CUYAHOGA FALLS, Ohio — Finnish guest conductor Hannu Lintu strode onstage at the Blossom Music Center on July 27, all six-feet-plus of him, as purposefully as the hero in Lemminkäinen’s Return. The opening work on The Cleveland Orchestra’s program on Saturday is the fourth tone poem in Jan Sibelius’s “Lemminkäinen Suite,” based on Finland’s national epic, the “Kalevala.”

All he needed was a horse. But then, with a turn toward the orchestra and a mighty downbeat, he unleashed equestrian fury from strings and woodwinds, allowing some brass aggression here and there. With loose-limbed, ropey arms and an occasional leg-lift, Lintu projected the relaxed potency of a warrior leading his team to victory. 

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