Philip Metres Archives - Cleveland Classical

Cleveland Classical Guitar Society: a conversation with Jorge Caballero

November 8, 2016 by Carlyn Kessler

by Carlyn Kessler

“I like to believe that music speaks for itself. People can derive their own meaning from the sounds they hear,” classical guitarist Jorge Caballero said during a recent phone interview. “It’s like writers who find that it’s best not to say anything about their own work — they prefer readers to form their own opinions. I feel the same way about performance.”

On Saturday, November 12 at 7:30, the Cleveland Classical Guitar Society will present Jorge Caballero in his Cleveland debut. The recital is part of the Society’s International Series at Plymouth Church in Shaker Heights.

Born in in Lima, Peru, Caballero is the youngest person and only guitarist to have won the Naumburg International Competition. [Read more…]

Cleveland Classical Guitar Society begins season with a showcase concert

September 20, 2016 by Mike Telin

by Mike Telin

The Cleveland Classical Guitar Society begins each season with a free Showcase Concert. This year that event will be held on Saturday, September 24 at 7:30 at Plymouth Church in Shaker Heights. The evening will feature performances by Adam Larison, Duo Allant (Kathryn Thomas Umble, flute, and François Fowler, guitar), and the Gruca White Ensemble (Robert Gruca, guitar, and Linda White, flute, left). [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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