Soo Han Archives - Cleveland Classical

Director Dirk Garner fills us in on Baldwin Wallace’s 87th Bach Festival

April 9, 2019 by Daniel Hathaway

by Daniel Hathaway

Founded in 1932 by Albert Riemenschneider (probably best known today for his edition of Bach’s 371 harmonized chorales), the Baldwin Wallace Bach Festival turns a spry 87 years old this year. Festival director Dirk Garner continues to infuse the extended Festival weekend with new ideas. We chatted with him by phone to ask what’s new on the agenda for 2019.

“There are two or three changes this year. We’ve added a Thursday evening concert specifically to celebrate our new orchestra conductor, Soo Han. He’s just been here a year, but he’s making a big splash. He’s a wonderful musician, and the students love him.” That opening concert on Thursday, April 11 at 7:00 pm in Gamble Auditorium includes Leopold Stokowski’s arrangement of Bach’s Air on the G String from the third orchestral suite, Mozart’s Symphony No. 31 in D, and Christopher Theofanidis’ Rainbow Body.

“The Stokowski arrangement ties into what I think is so cool about this year’s Festival,” Garner said. “It shows the many faces of Bach in the 21st century. [Read more…]

Cleveland Opera Theater {NOW} Festival: a celebration of new opera

February 2, 2019 by Daniel Hathaway

by Daniel Hathaway

The creation of new operas is a passion of Scott Skiba, Cleveland Opera Theater’s executive artistic director. The company will host the third annual {NOW} Festival at Baldwin Wallace Conservatory beginning on Monday, February 4 and running through Sunday, February 9. All Festival activities are free and open to the public.

This year’s Festival will include partnerships between Baldwin Wallace, Bowling Green State University, the Cleveland Composers Guild, Hiram College, and Oberlin. “Every year we try to make the institutional collaborations and student engagement more rich,” Skiba said during a telephone conversation. “And this year we’ve got great energy around everything that’s happening.”

The Festival will also include an American Futures Residency by composers Jake Heggie and Griffin Candey, and soprano Ann Moss. “We started putting the plans for this together during the first {NOW} Festival,” Skiba noted. “The residency will allow us to bring these three exceptional artists to the BW campus to work and collaborate with Conservatory students.” [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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