No Exit Presents Archives - Cleveland Classical

No Exit Presents: pianist Geoffrey Burleson

April 30, 2025 by Mike Telin

by Mike Telin

“I’ve been compelled by mid-century American modern music for some time,” pianist Geoffrey Burleson said during a Zoom conversation. “I’ve recorded all of Roy Harris’ piano music and Vincent Persichetti’s twelve piano sonatas. I recently played some of Irving Fine’s music at Mills College under the auspices of Other Minds. I’m always saddened when people dismiss the mid-century neoclassic style. I just love it, and I’m doing all that I can to revive it.”

On Friday, May 2 at 7:00 pm, “No Exit Presents” will host Geoffrey Burleson for a concert at the Bop Stop. The program, which will include works by mid-century and 21st-century American composers, will be repeated on Saturday at 7:00 pm at Heights Arts. Both events are free. [Read more…]

No Exit Presents: John Faieta at Trinity Cathedral (Feb. 28)

March 6, 2025 by Mike Telin

by Mike Telin

Although seventy-six trombones may have led the big parade, when John Faieta brought his one-man show to Trinity Cathedral on Friday, February 28, the trombone virtuoso proved that one trombone — matched with an acoustically pleasing space — is all that is needed to provide a fascinating listening experience.

Under the banner of No Exit Presents, Faieta’s beautifully-constructed program treated the good-sized audience to five musically diverse works that stretched the sound and technical capabilities of the instrument. And a subtle sense of humor imbued his charming and informative stories about each work and how it came to be written.

The program opened with Leonard Bernstein’s Mippy II, a tune the composer wrote as a eulogy for his brother’s beloved dog. It’s a jaunty work with a smooth-talking melody, and Faieta delivered a sparkling performance.

[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…]

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