Phillis Wheatley Association Archives

Bass-baritone Mark S. Doss to sing benefit recital at Phillis Wheatley

October 20, 2016 by Daniel Hathaway

by Daniel Hathaway

Born and raised in Cleveland, bass-baritone Mark S. Doss now enjoys an opera and recital career that takes him all over the world. The Grammy-winning bass-baritone will return to his hometown on Saturday, October 22 at 7:00 pm for a special concert at the Phillis Wheatley Association, 4450 Cedar Ave., sponsored by ARTS in Central.

Doss will join his longtime pianist Jerry Maddox in a program of opera arias, art songs, and spirituals to benefit the after-school and summer youth programs of Foluké Cultural Arts Center, Inc. Tickets at $40 include pre-concert cocktails and a post-concert reception, but concert tickets alone run from $10 to $25. Details and ticketing information here. [Read more…]

Cleveland Repertory Orchestra’s season opener contemplates circles of life (Nov. 2)

by Stephanie Manning

“This moment is full of wonders.” Composer Anna Clyne meditated on those words — written by Buddhist monk and peace activist Thich Nhat Hanh — as she wrote her orchestral work This Moment. That theme, of learning to cherish life more by reflecting on death, underscored most of the music chosen for the Cleveland Repertory Orchestra’s program on November 2.

The Cultural Arts Center at Disciples Christian Church hosted the season-opening concert, titled “Reflection and Revelations.” The venue’s dry acoustic helped the textures remain clear in Clyne’s piece, a somber and meditative seven minutes. [Read on…]

Pianist Garrick Ohlsson, conductor Daniel Reith lead Cleveland Orchestra in Beethoven concert (Nov. 9)

by Kevin McLaughlin

This article was originally published on Cleveland.com.

CLEVELAND, Ohio — A relaxed understanding born of a long career helped pianist Garrick Ohlsson bring easy grace and Proto-Romantic sensibility to Beethoven’s Second and Fourth Piano Concertos with the Cleveland Orchestra.

The program on Saturday at Severance Music Center featured early and middle works, the second set of concerts in the Orchestra’s cycle of Beethoven piano concertos.

Despite its number, the Second Concerto is actually the composer’s first, begun in 1790. Ohlsson treated this early Beethoven work expressively, with sinuous rubato, keeping his rhythms precise, his touch light, and his rhetoric clear. Nothing, not even Beethoven’s many technical snares, seemed to faze him.

[Read on…]

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