Peter Johnson Archives - Cleveland Classical

Nightingale Opera Theatre: Mark Adamo’s Little Women at Hudson’s Barlow Center (July 16)

July 27, 2016 by Daniel Hathaway

by Daniel Hathaway

A strong cast of singer-actors and superb production values made Nightingale Opera Theatre’s recent production of Mark Adamo’s Little Women a beautiful experience. I saw the second of two performances in the intimate theater of the Barlow Community Center in Hudson on Sunday afternoon, July 16. [Read more…]

Nightingale Opera to stage Little Women: thoughts from executive director Melissa Davis

July 12, 2016 by Daniel Hathaway

by Daniel Hathaway

Mark Adamo’s Little Women, his first attempt at an opera, turned out to be a composer’s dream project. It is based on Adamo’s own adaptation of Louisa May Alcott’s story of four New England sisters coming of age during the American Civil War. The piece was workshopped at Houston Grand Opera in 1998, then given a full production there in 2000. With more than 70 productions to date, including a version filmed for national television, Little Women has gone on to become one of the most-produced new operas of our time. Nine productions will have taken place in 2015-2016 alone.

Nightingale Opera Theatre will bring Little Women to the stage of Hudson’s Barlow Community Center on Friday, July 15 at 7:30 pm and on Sunday, July 17 at 2:30 pm. [Read more…]

Cleveland Orchestra’s holiday concerts return with plenty of festive cheer (Dec. 11)

by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio — If the twinkling lights, leafy green garlands and festive poinsettias didn’t already clue you in, the holidays have arrived at Severance Music Center. ‘Tis the season for annual traditions — including The Cleveland Orchestra’s holiday concerts, which began on Wednesday evening.

Running through December 22, the programs feature plenty of seasonal classics plus some potential new favorites. The first performance proved that this mix is a delightful recipe for festive cheer.

“Look at you all, out on a school night!” conductor Sarah Hicks proclaimed joyfully from the podium. Just as many concertgoers donned red outfits to get into the spirit, Mandel Concert Hall was also decked out with decorations and stage lighting effects.

[Read on…]

Oberlin Conservatory convincingly tells Omar’s story (Dec. 8)

by Stephanie Manning

The Cleveland premiere of Rhiannon Giddens’ and Michael Abels’ Pultizer Prize-winning opera Omar on December 8 at the Maltz Performing Arts Center proved that concert productions of opera can succeed without sets, elaborate costumes and extensive staging. Indeed, the Oberlin Conservatory presentation offered more than enough to keep the audience in the crowded house enthralled.

The Opera, which was also presented at Oberlin’s Finney Chapel two days earlier, is based on the 1831 autobiography of Muslim scholar Omar ibn Said, the only such work written by an enslaved person during their enslavement, and the only such document written in Arabic.

Rhiannon Giddens’ brilliant libretto chronicles the life of ibn Said, beginning in present-day Senegal and following him through his capture, journey via the Middle Passage, and enslavement in North and South Carolina. [Read on…]

Kirill Gerstein is captivating on piano as Cleveland Orchestra recital series continues (Dec. 4)

by Daniel Hathaway

This article was originally published on Cleveland.com

CLEVELAND, Ohio — There’s no dearth of first-class piano performances to enjoy in Northeast Ohio, but Kirill Gerstein’s contribution to the collective wealth Wednesday night was extraordinary both in concept and execution.

Playing as part of the Cleveland Orchestra’s ongoing recital series at Severance Music Center, Gerstein wove an overarching narrative from the 21 little masked ball portraits in Robert Schumann’s “Carnaval.” Then he helped composer Francisco Coll blow up the idea of the waltz in two striking, brand new pieces written for Gerstein and joined Maurice Ravel in redefining that most civilized of dances in a cataclysmic performance of “La valse.”

[Read on…]

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