Stephen Goss Archives - Cleveland Classical

Cleveland International Classical Guitar Festival welcomes David Russell for his festival debut

June 7, 2017 by Mike Telin

by Mike Telin

When David Russell last performed in Cleveland in March of 2014, James Flood wrote in ClevelandClassical.com that the celebrated guitarist produced “just the right tone color for a given phrase or, in some cases, a single note, all done with such naturalness it’s as if his fingers instinctively know just where to go.”

On Saturday, June 10 at 8:00 pm in Mixon Hall, Russell will return to Cleveland for his debut performance on the Cleveland International Classical Guitar Festival. He will also present free public masterclasses on Friday, June 9 at 3:00 and Sunday, June 11 at 4:30 in CIM’s Studio 113. [Read more…]

Gruca White Ensemble to feature guitarist/composer works at Bop Stop

February 28, 2017 by Mike Telin

by Mike Telin

It’s no secret that the Cleveland area has a vibrant classical guitar scene. But it wasn’t until flutist Linda White relocated here from Wyoming, that she discovered the breadth of repertoire that has, and continues to be written for flute and guitar.

“Before I moved here, I can say that I had never heard a classical guitarist perform live, let alone work with one,” White said during a telephone conversation. “As I began to learn the concert repertoire, it spoke to me because of all of the different colors and sounds the instrument is capable of producing.”

On Saturday, March 4 at 8:00 pm at the Bop Stop, Linda White will join classical guitarist Robert Gruca, performing as the Gruca White Ensemble, in a concert that will feature music by three guitarist/composers. [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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