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Cleveland Orchestra dazzles with Chopin and Rachmaninoff (Aug. 21)

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by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Works by pianist-composers Frédéric Chopin and Sergei Rachmaninoff offered some dazzling displays of virtuosity on The Cleveland Orchestra’s final Summers at Severance concert on August 21 at Severance Music Center.

Chopin’s Second Piano Concerto gave soloist Nobuyuki Tsujii multiple opportunities to shine, and Rachmaninoff’s Second Symphony provided guest conductor Dima Slobodeniouk with a rich palette of orchestral colors to paint with, even without a soloist at the Steinway.

Rachmaninoff’s Symphony No. 2 was first performed in Cleveland by the Boston Symphony in 1911 and first played by The Cleveland Orchestra under the direction of Nikolai Sokoloff in March of 1920 as part of the newly formed ensemble’s second season.

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Sounds of Bartók, Dohnányi, Liszt shine at Severance Music Center (July 31)

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by Peter Feher

This article was originally published on Cleveland.com

CLEVELAND, Ohio — It’s quite possible that a record number of soloists have taken the stage at Severance Music Center over the past few weeks.

Thursday night’s Cleveland Orchestra concert — a symphonic showcase from beginning to end that spotlighted every section of the ensemble — should certainly count toward the virtuoso tally.

The playing of dozens of individual orchestra members came brilliantly to the fore in Mandel Concert Hall. Never mind that no guest soloist was featured. Rather, the evening’s prodigiousness originated with the lineup of composers, expertly channeled by visiting conductor Christoph Koncz.

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Conductor Kazuki Yamada’s stylish Cleveland Orchestra debut features Elgar, Mozart, and pianist Francesco Piemontesi (Apr. 24)

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by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Edward Elgar’s first symphony was a long time coming. But once the British composer finally put pen to paper at age 51, audiences at the time simply couldn’t get enough. But tastes change, and that rapturous response in 1908 couldn’t guarantee eternal success. The piece has now settled into relative obscurity for many American orchestras.

Today, Britain is still the most likely place to hear Elgar’s Symphony No. 1 — so it made sense that The Cleveland Orchestra’s performance on April 24 should be led by the conductor of a British ensemble. City of Birmingham Symphony Orchestra music director Kazuki Yamada ascended the Severance Music Center podium, making his assured and elegant Cleveland Orchestra debut.

Elgar’s symphony is unconcerned with quaint, pastoral English scenes — instead, it’s often stormy, celebratory, and in-your-face, sometimes all at once. On Thursday, Yamada confirmed his reputation for passion and expressivity as a conductor in his interpretation of the symphony.

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Cleveland Orchestra marks Ravel’s 150th birthday with masterful performance (Mar. 6)

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by Peter Feher

This article was originally published on Cleveland.com

CLEVELAND, Ohio — When Maurice Ravel visited Northeast Ohio in 1928, not everything went according to plan. The French composer had a reputation for being far more brilliant on paper than in person. Nikolai Sokoloff, then music director of The Cleveland Orchestra, would recount afterward how Ravel came late to rehearsal, conducted his pieces clumsily, and left listeners somewhat confused.

So, it’s entirely fitting that this weekend’s concerts at Severance Music Center, which mark the 150th anniversary of the composer’s birth, should be entrusted to more polished hands.

Music director Franz Welser-Möst was back on the podium in Mandel Concert Hall on Thursday, March 6, presiding over a masterful performance that made a virtue of restraint. Tasteful extravagance may be more typical of Ravel’s style, but The Cleveland Orchestra has a way with refinement. And so does Korean pianist Seong-Jin Cho, the evening’s soloist, who gave a sensitive, at times subdued account of the composer’s Concerto in G Major.

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The Cleveland Orchestra:
Bychkov, Labèques, and a premiere (Dec. 7)

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by Kevin McLaughlin

Maybe it was the time of year, the familial ties of the visiting conductor and pianists, the anticipation of a new work, or maybe all of it, but somehow a rosy glow enveloped the Cleveland Orchestra concert on Thursday, December 7.

Semyon Bychkov’s appearance on the podium, the U.S. premiere of Julian Anderson’s Symphony No. 2, the return to Cleveland by the Labèque sisters — even Tchaikovsky’s Romeo and Juliet Overture-Fantasy (normally a two-hankie affair) — all warmed the heart on this winter’s night.

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Cleveland Orchestra with Denève & Said (Feb. 19)

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by Daniel Hathaway

A long line at the Will Call window at Severance on Saturday evening, February 19 meant that a number of Cleveland Orchestra patrons missed hearing Guillaume Connesson’s Flammenschrift, the first item on Stéphane Denève’s program.

By way of consolation, soprano Fatma Said’s luminous singing in Maurice Ravel’s Shéhérazade made up for the delay.

Drawn to the exoticism of The Arabian Nights, in 1904 Ravel wrote both an overture and a three-movement song cycle on poems by Tristan Klingsor. We heard the song cycle, which Caroline Rae described in a Philharmonia Orchestra essay: [Read more…]

Rafael Payare in Cleveland Orchestra debut at Blossom (July 25)

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by Timothy Robson

Venezuelan-born conductor Rafael Payare made his debut with The Cleveland Orchestra at Blossom Music Center on Sunday, July 25. Prokofiev’s Violin Concerto No. 2 featured Stefan Jackiw as soloist, and the program concluded with Antonín Dvořák’s evergreen “New World” Symphony. Payare is the music director of the San Diego Symphony and music director-designate of the Orchestre symphonique de Montréal.

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CD Review:
Rands at Oberlin

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by Mike Telin

To say that the music of Bernard Rands is tinged with Ravel and Debussy doesn’t tell the whole story. In reality, his music extends beyond that into a post-modern, impressionistic world. On the recently-released CD, Rands at Oberlin, the composer’s engaging musical voice is brought to life in stellar performances by Robert Walters of the Concerto for English Horn and Orchestra (2015) and by tenor Magnus Staveland of the Pulitzer prize-winning Canti del Sole (1983). [Read more…]

Oberlin Stage Left: 
“Something for everyone”

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by Mike Telin 

Artists, arts organizations, and schools of music have found inventive ways of providing homebound audiences with a seemingly never-ending stream of performances during the ongoing COVID-19 pandemic. The question is, what will make yours stand apart from the others? 

Beginning on Tuesday, April 14 at 7:30 pm, the Oberlin Conservatory will debut Oberlin Stage Left, a new online series featuring faculty and students, as well as fascinating guests from throughout the musical world. The programs promise to be fun, informative, and “distinctly Oberlin.” New episodes will be broadcast on Tuesday and Thursday evenings and Sunday afternoons. The inaugural performance will feature harp professor Yolanda Kondonassis and the Oberlin Orchestra, Raphael Jiménez, conducting, in Ginastera’s Harp Concerto, preceded by a recently recorded interview with Kondonassis by Conservatory Dean William Quillen.

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Cleveland Orchestra guest conductors lead memorable Concerts (Feb. 23 & 27)

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by Daniel Hathaway

Michael Tilson Thomas succeeded Herbert Blomstedt as music director of the San Francisco Symphony in 1995. In a nice coincidence, Blomstedt turned the tables last month, following Tilson Thomas on the Severance Hall podium during adjacent weeks in February. [Read more…]

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