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Labadie leads fresh-sounding performance of Messiah with Cleveland Orchestra, Chorus and solo quartet (Dec. 4)

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by Daniel Hathaway

This article was originally published on Cleveland.com

CLEVELAND, Ohio – On Thursday evening at Severance Music Center, guest conductor Bernard Labadie did far more than just hold the performance of Messiah by the Cleveland Orchestra, Chorus and solo quartet together, he led a surgically clean account of George Frideric Handel’s 1741 oratorio.

Like a London cabbie, Labadie knew all the available highways and byways for the two-hour musical journey and pointed out interesting sights we might otherwise have missed.

And to change metaphors, like a skilled restorer he gently removed layers of interpretive grime that has accumulated over the years from Handel’s score, allowing us to hear it with fresh ears. He also tucked in some surprises of his own for those of us who thought we knew the piece and how it should go. [Read more…]

Cleveland Orchestra brass and percussion celebrate Akron’s 200th in ambitious Tuesday Musical program (Apr. 22)

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by Stephanie Manning

There are very few American cities who can count themselves as having an official fanfare. But now, Akron is one of them.

To celebrate the city’s 200th anniversary, Tuesday Musical commissioned composer Peter Boyer to write Festive Fanfare (For Akron’s Bicentennial). More than a concert piece, a recording of the four-minute fanfare will soon be made available for open-access use at Akron civic events. On April 22, a packed house heard it live for the first time as part of a wide-ranging program by the brass and percussion players of The Cleveland Orchestra.

“Kid — candy store,” Boyer said from the stage at E.J. Thomas Hall, gesturing to himself and then the musicians to describe his excitement. [Read more…]

Soloists shine in Cleveland Orchestra’s Bach Easter Oratorio, Magnificat and more (Apr. 17)

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by Kevin McLaughlin

This article was originally published on Cleveland.com

CLEVELAND, Ohio — On Thursday, April 17, at Severance Music Center, Canadian guest conductor Bernard Labadie led The Cleveland Orchestra, Cleveland Orchestra Chorus, and four splendid soloists in two of J.S. Bach’s most exultant sacred works — the dramatic Easter Oratorio, and his Magnificat. Bach’s festive Sinfonia from his Cantata 29 completed the program.

Reworked from a secular cantata for a patron’s birthday, Bach’s Easter Oratorio is a less overtly theatrical work than the composer’s Passions. Its uncomplicated story describes the moment that Mary Magdalene (mezzo-soprano Adèle Charvet), Mary of Cleophas (soprano Joélle Harvey) and the apostles Peter (tenor Andrew Haji) and John (bass-baritone Gordon Bintner) come to the tomb of Jesus and find it empty.

[Read more…]

Cleveland Orchestra brass and percussion take center stage to celebrate Akron’s bicentennial

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by Stephanie Manning

Composer and conductor Peter Boyer has a lot on his plate. But when recording producer Elaine Martone called him two years ago with an offer from Tuesday Musical, he just couldn’t say no.

“ I knew I already had these two huge commissions for 2026, so I was a little hesitant,” he said in a recent interview. “But I could tell that this was going to be a really cool project, because we had great people involved. It was just too good to pass up.”

The brass and percussion players of The Cleveland Orchestra, led by principal trumpet Michael Sachs, will premiere Boyer’s Festive Fanfare (For Akron’s Bicentennial) on Tuesday, April 22. Presented by Tuesday Musical, the 7:30 pm concert at E.J. Thomas Hall celebrates Akron’s 200th birthday with music by Giovanni Gabrieli, Percy Grainger, and Modest Mussorgsky. [Read more…]

Pianist Yuja Wang, Cleveland Orchestra do Tchaikovsky justice, despite pre-concert surprise (Mar. 22)

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by Kevin McLaughlin

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Pianist Yuja Wang is a dazzler. She has a way of dressing, of taking the stage, and of bowing that bespeaks confidence and star quality. Add to those a suspenseful entrance (a few minutes overdue), apparent nonchalance at a last-minute conductor change — assistant conductor Daniel Reith in for music director Franz Welser-Möst — and an astonishing keyboard technique, and you get excitement.

The audience was buzzing with anticipation on Saturday evening March 22 at Severance Music Center for Wang’s appearance with the Cleveland Orchestra in Tchaikovsky’s Piano Concerto No. 1.

To be fair, the delayed entrance likely had more to do with a needed meeting between pianist and conductor before performing the work together. Reith, who received word of the change only two hours before the concert, deserves much of the glory for what followed.

[Read more…]

Cleveland Orchestra provides fireworks of the non-pyrotechnic kind (July 13)

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by Kevin McLaughlin

This article was originally published on Cleveland.com

CUYAHOGA FALLS, Ohio — It was a night of fireworks at The Cleveland Orchestra’s Blossom Music Center concert on Saturday, July 13, even if there were no after-concert skyrockets. The Orchestra’s principal trumpet Michael Sachs deserves primary credit, supplying as he did a whole summer’s worth of pyrotechnics in a single trumpet concerto.

Also impressive was the young Venezuelan conductor Domingo Hindoyan, who in his Cleveland Orchestra debut, showed both flair and craft.

In Alexander Borodin’s exotic Polovtsian Dances, extracted from his opera Prince Igor (1887), Hindoyan also displayed a mastery of combining orchestral and choral forces. [Read more…]

Three perspectives on Americanness with The Cleveland Orchestra (Apr. 27)

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by Stephanie Manning

Maybe it was the enduring popularity of Dvořák’s “New World.” Or the excitement of a world premiere. Or the chance to see three contrabass clarinets, three contrabassoons, and three tubas on stage. Whatever the reason, Mandel Concert Hall was packed to the gills on April 27 for an exciting concert by The Cleveland Orchestra.

With one Cleveland Orchestra premiere and one world premiere on the program, Antonín Dvořák’s Symphony No. 9 almost seemed like the odd one out — yet it drew the evening together in some compelling ways. Though “New World” is familiar to many, the orchestra’s sparkling performance often made it feel just as exciting as a first listen. Every brass chorale was suitably grand, and the ensemble capped off the jaunty third movement with a stunningly rich last chord.

Some uncharacteristic cracks did show through in the second, with an ill-articulated opening, and a too-brisk tempo from music director Franz Welser-Möst. The whole symphony received this speedier interpretation, but it was this movement that was most affected, with the usually calm aura left feeling slightly on edge. Still, this was the exception and not the norm. The first movement, for example, was virtually recording-quality, with some impeccable playing all around.

[Read more…]

Mahler and Chin play to The Cleveland Orchestra’s strengths (Feb. 9)

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by Stephanie Manning

On February 9, concertgoers approaching Severance Music Center likely noticed the dramatic lighting choices — the building had been lit up in a deep red. With Mahler’s Fifth Symphony on the program, it felt fitting. The composer’s intense and passionate works are popular with both musicians and audiences, and an unsurprisingly crowded house packed Mandel Concert Hall for the occasion. Not only was the music guaranteed to generate interest, but so was the conductor: young Finnish phenom Klaus Mäkelä, in his second consecutive week this season with The Cleveland Orchestra.

Audiences did not see much of Mäkelä the previous week, as illness forced him to bow out of three of four performances. But on Thursday evening, he was back and characteristically full of energy. With fluid, yet bouncy movements that make his style easily identifiable, the conductor is a fascinating watch on the podium. Frequent changes in stance and an unabashed expressiveness create the feeling that the beats are echoing through his body.

The musicians were responsive to Mäkelä’s every move. [Read more…]

The Cleveland Orchestra brings the jazzy & symphonic to Blossom (July 16) 

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by Peter Feher

The crowd at Blossom Music Center on July 16 received two concerts for the price of one. The Cleveland Orchestra went in a jazzy direction with the program’s first half, before turning to the dazzling symphonic repertoire that this ensemble does best.

And those pieces after intermission made for quite the finale. The Orchestra tackled the two most popular pieces from Ottorino Respighi’s Roman trilogy — Fountains of Rome and Pines of Rome — scores that were practically written to end in fireworks.

[Read more…]

CD Single: Sachs & Kondonassis in Kernis’ Elegy…for those we lost (Azica)

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by Daniel Hathaway

When British musicians have needed a piece of memorial music, their choice since the turn of the 20th century has often been the “Nimrod” movement from Edward Elgar’s Variations on an Original Theme, or Henry Walford Davies’ A Solemn Melody. 

Since 1935 when it was born as the second movement of his Op. 11 String Quartet, Americans have frequently turned to Samuel Barber’s Adagio for Strings, a piece the composer later texted with the words of the Agnus Dei and re-published for unaccompanied chorus.

A more recent and very personal entry into the category of musical laments is Aaron Jay Kernis’s Elegy…for those we lost, originally a piano piece composed after the composer had contracted and recovered from COVID-19.

He has written, “I strived to create music to counterpoint the terrible pandemic and honor the dead — to try to give some measure of solace to families by sharing a personal expression of grief.” [Read more…]

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