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Les Délices: music fosters meaningful conversation at Cleveland’s VA Medical Center (Feb. 21)

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by Stephanie Manning

Navigating dementia — a common, yet devastating part of aging — requires confronting all sorts of complex emotions. People with memory loss, their caregivers, and the medical teams who interact with them all understand this well. So when Les Délices commissioned a piece tackling this difficult topic, they made a special effort to bring the music to those who would resonate with it the most.

The Louis Stokes Cleveland VA Medical Center hosted the early music ensemble for two performance-discussion sessions on February 21, a moving and emotional afternoon of empathetic, honest conversations about memory loss all framed by the solace of music.

At 12:00 pm, medical professionals and providers gathered in the rec hall, where flags of the U.S., the Department of VA, and the military’s many branches now provided a backdrop to a harpsichord and a collection of music stands. As part of the “Bioethics at Noon” series, the Les Délices musicians performed François Couperin’s La Visionnaire and selections from Viet Cuong’s world premiere, A Moment’s Oblivion. [Read more…]

Les Délices contemplates what makes us human in “A Moment’s Oblivion” (Feb. 23)

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by Stephanie Manning

“How wretched to forget,” sings the son in A Moment’s Oblivion — a character whose father now struggles to recognize members of his own family. “For all we were forms who we are.”

But the miracle cure that restores his father’s memory turns out to be a more fraught solution than it appears. Such is the conflict at the heart of Les Délices’ recent commission, with music by Viet Cuong and libretto by Cleveland poet Dave Lucas. The early music ensemble’s latest program surrounded the world premiere of A Moment’s Oblivion with more musical opportunities to reflect on the complex, and sometimes contradictory, emotions that make us human. [Read more…]

Les Délices unveils “The Mythology Project”

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By Mike Telin

When Debra Nagy asked Nicholas Phan to think about a non-Western, specifically non-European, myth that could be a fit for Les Délices’ The Mythology Project, he knew exactly where to turn.

“I had been spending a lot of time in Ann Arbor at my parents’ place because their health was starting to decline. And in my childhood bedroom was this very tattered book of Chinese myths that I had as a child,” the Grammy-winning tenor said on a recent Zoom call from Lisbon, Portugal.

“So I thumbed through the book and “The Loss of Memory Myth” jumped out at me. Probably because of what I had been experiencing with my parents’ decline in health and my needing to step up to take care of them. That role reversal really spoke to me.”

This weekend Les Délices will present A Moment’s Oblivion, the first instalment of “The Mythology Project,” a three-year initiative that will bring new life to the secular cantata that was popular in 17th and 18th-century France.

On Saturday at 4:00 pm at Heights Theater and Sunday at 4:00 pm at West Shore Unitarian Universalist Church, tenor Nicholas Phan, oboist Debra Nagy, violinist Shelby Yamin, violist da gamba Rebecca Landell, and harpsichordist Mark Edwards will perform Michel de Montéclair’s La Bergère & Le Dépit généreux, Marin Marais’ “Le Labyrinthe” from Livre 4ème, and François Couperin’s “Barricades mistérieuses” and “Les Langueurs tendres” from Sixième Ordre. Tickets are available online.

[Read more…]

BW Bach Festival Concert 4: St. John Passion (April 20)

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by Timothy Robson

BW Chorus & OrchFor their Saturday evening concert on April 20, the Baldwin Wallace University Bach Festival presented Johann Sebastian Bach’s St. John Passion in Gamble Auditorium on the BW campus. Festival Director Dirk Garner conducted the Motet Choir and a professional orchestra that included members of Chatham Baroque, who had performed earlier in the Festival. [Read more…]

BW’s 86th Bach Festival to feature Chatham Baroque & Kenari Saxophones

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by Daniel Hathaway

BW Chorus & OrchThough the composer wasn’t around to blow out the candles on his 333rd birthday cake in March, Johann Sebastian Bach’s music lives on in both traditional and surprising ways. The Baldwin Wallace Bach Festival, whose 86th edition will be celebrated in Berea on April 20 and 21, will touch both the historic and the innovative poles of all things Bach, hosting a period instrument ensemble as well as a saxophone quartet.

“Chatham Baroque sits at the center,” Festival director Dirk Garner said in a telephone conversation. “They’ll be doing their own concert of music by Bach and earlier composers on Friday night, and they’re sharing their expertise by helping prepare the orchestra for Saturday evening’s performance of the St. John Passion.”

This year, the Bach Festival has hired a professional orchestra for the major Bach work. “Chatham’s Andrew Fouts will be the concertmaster, Scott Pauley is playing lute, and Patricia Halvorsen viola da gamba. They’re great musicians and really cool people,” Garner said. [Read more…]

Tenor Nicholas Phan & Apollo’s Fire (November 10)

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by Timothy Robson

Phan-EncoreAmerican tenor Nicholas Phan led members of Cleveland’s Baroque orchestra Apollo’s Fire in a stunning live performance of Phan’s English Baroque lute song album, A Painted Tale, this weekend at several local venues, including St. Paul’s Episcopal Church in Cleveland Heights on Friday night. [Read more…]

Tenor Nicholas Phan to guest direct & sing in next Apollo’s Fire concerts

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by Daniel Hathaway

PHAN-NicholasNicholas Phan will certainly be no stranger to Northeast Ohio when he arrives to guest direct and perform in Apollo’s Fire’s next production. The versatile tenor has appeared with The Cleveland Orchestra in Orff’s Carmina Burana in 2013, and in Bach’s B-minor Mass in 2014. In his previous engagements with Apollo’s Fire in 2016, he covered both the Evangelist and the tenor solos in Bach’s St. John Passion. He got off a bit easier in the Cleveland Orchestra’s St. John last March, only singing the role of the Evangelist. And in between those gigs, Phan stepped in for John Relyea on Oberlin’s Artist Recital Series in February, 2016.

This time around, Phan will be performing a program adapted from A Painted Tale, a 2015 recording of Elizabethan lute songs in which he collaborated with lutenist Michael Leopold and gambist Ann Marie Morgan. The album takes its name from the Thomas Morley piece that introduces it, and Phan wrote in a preview that “The songs are structured so that when one listens to them in order, they tell the story of a young man who falls passionately in love for a woman and who is ultimately destroyed by the fire of that passion.” [Read more…]

Apollo’s Fire: a chat with Jeannette Sorrell about the Baroque orchestra’s 26th Season

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by Daniel Hathaway

SORRELL-JeannetteApollo’s Fire crowned its 25th anniversary season over the summer with sold-out performances at Tanglewood, Ravinia, and Cain Park. I reached Artistic Director Jeannette Sorrell to ask what’s ahead for Cleveland’s Baroque Orchestra in 2017-2018.

Daniel Hathaway: You’ve planned some big works to begin and end your new season — Handel’s Israel in Egypt in the fall, and Monteverdi’s Orfeo in the Spring. I understand that you’ve created a special version of Handel’s famous, double-chorus oratorio for the October 12-15 performances in Northeast Ohio.

Jeannette Sorrell: I’ve always felt that Israel in Egypt is a great work, but performances I’ve heard didn’t always work for me. The original piece was in three parts, beginning with the “Lamentation on the Death of Jeremiah” and continuing with “Exodus” and “The Song of Moses.” Audiences today usually only hear the second and third parts, but the “Lamentation” contains some beautiful, poignant funeral music.

[Read more…]

Cleveland Orchestra & Chamber Chorus: Bach’s St. John Passion at Severance (Mar. 9)

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by Daniel Hathaway

TCO-Herr-unser-HerrscherUnder the direction of Franz Welser-Möst on Thursday evening, members of The Cleveland Orchestra and Chorus and an excellent team of soloists made a strong case for a not-so-historically informed approach to Bach’s sacred vocal works. The quality of Welser-Möst’s interpretation and the excellence of its execution got right to the heart of the composer’s Passion According to St. John and left a powerful emotional impression. [Read more…]

Apollo’s Fire: Bach’s St. John Passion at First Baptist Church (March 4)

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by Nicholas Jones

StJohnTrinityMar2016Like all great drama, Johann Sebastian Bach’s Passions — his settings of the gospel accounts of Jesus’s crucifixion — present conflicting points of view. We see the Passion through so many characters in the story — the disciple Peter, who denies knowing Jesus; the conflicted Roman governor Pilate, who finds no guilt in Jesus and yet sends him to the cross; the angry crowd, which demands his crucifixion; and Jesus himself, suffering and yet transcending his suffering. At every point, Bach demands our involvement with the conflicting ways in which each of these actors interpret the crucial event of the Christian story. [Read more…]

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