Michael Borowitz Archives - Page 2 of 2

Michael Borowitz returns to conduct Ohio Light Opera

June 13, 2022 by Mike Telin

by Mike Telin

Like nearly every performing arts organization in the world — especially those reliant on vocalists — Ohio Light Opera had to “improvise” during the pandemic. Returning to live performances on Saturday, June 18 at 7:30 pm in Freedlander Theatre in Wooster, the company will launch its 2022 season with Rodgers & Hammerstein’s Cinderella. Tickets are available online. Click here to view a season calendar.

On opening night, the person guiding the performance from the orchestra pit will be conductor Michael Borowitz. A Pennsylvania native and graduate of the Cleveland Institute of Music, Borowitz serves on the faculty at Louisiana State University and is the artistic director of Opéra Louisiane.

He has served as artistic Director of Nevada Opera, and has been on the podium for La Musica Lirica, Des Moines Metro Opera, AVA Ballet, and Opera Columbus, to name a few. His repertoire ranges from the traditional titles of Puccini and Rossini to contemporary scores. And for five seasons he was Music Director for Ohio Light Opera.

We caught up with Borowitz by telephone and began our conversation by asking him how it feels to be back at OLO after more than a decade’s absence. [Read more…]

« Previous Page

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