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Pianist Yuja Wang creates magic with The Cleveland Orchestra (Nov. 28)

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by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio – Thanksgiving weekend concerts by The Cleveland Orchestra often center around a big-ticket soloist or a popular piece.

This year’s program offers both, thanks to star pianist Yuja Wang and Maurice Ravel’s brilliant orchestration of Modest Mussorgsky’s “Pictures at an Exhibition.”

On Friday November 28, the snow cleared just in time for the crowds to arrive at Severance Music Center for the evening event. Led by conductor Petr Popelka, the resulting concert equally displayed the prowess of Orchestra and soloist over the course of three fascinating works.

György Ligeti’s Piano Concerto stood out in contrast to the lush textures and easy-to-follow melodies of the works that surrounded it. Premiered in 1988, its dissonant and avant-garde music might have come from another world. But both Wang and the Orchestra rose to meet the challenge of its devilishly tricky rhythms with an assured confidence.

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The Cleveland Orchestra’s Messiah: a conversation with soprano Liv Redpath

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By Mike Telin

“One of my favorite things to do is to sing with the Cleveland Orchestra,” soprano Liv Redpath said during a telephone conversation. “There’s really no better orchestra — it’s kind of freakish how great they are.”

On Thursday, December 4 at 7:30 at Severance Music Center, Redpath will join her solo quartet colleagues — countertenor Tim Mead, tenor Andrew Haji, and bass-baritone Philippe Sly — when Bernard Labadie leads The Cleveland Orchestra and Chorus in Handel’s Messiah. The program will be repeated on Friday and Saturday at 7:30 pm. Tickets are available online.

Redpath looks forward to once again working with Labadie, who she said brings a great balance to classical and Baroque music. “Bernard has a huge heart and passion for this music and making it alive. But behind that is a deep knowledge of the structure that makes the music tick like a really beautiful Swiss clock. I’m excited to once again sing with The Cleveland Orchestra, but I have not performed with them together with Bernard, so that’s going to be a treat.”

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Cleveland Orchestra, conductor Dalia Stasevska celebrate music of North America (Nov. 20)

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by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio – Although written by a European composer, Antonín Dvořák’s beloved “New World” Symphony represents a particularly “American” idea of music to many.

An audience favorite ever since its premiere in New York in 1893, this symphony is often performed together with works by American composers — an approach taken by The Cleveland Orchestra the last time they played it here in 2023.

This time around, the program expanded its scope to encompass the North American continent, pairing the Dvořák with a piece by Mexican composer Silvestre Revueltas. Conductor Dalia Stasevska led a memorable performance of both works on Thursday, Nov. 20 at Severance Music Center.

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Cleveland Orchestra Youth Orchestra: a conversation with James Feddeck

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by Mike Telin

“I’ve always had a special place in my mind and in my heart for The Cleveland Orchestra Youth Orchestra,” James Feddeck said during a Zoom conversation. “These young people are so exceptional — they humble me.”

On Friday, November 21 at 8:00 pm, James Feddeck, who served as COYO’s music director for four seasons from 2009-2013, will return to Severance Music Center to lead the ensemble in a program that includes his own suite from Prokofiev’s ballet Romeo and Juliet, and César Franck’s Symphony in D minor. Tickets are available online.

Feddeck, who is currently serving as principal conductor and musical advisor of The Cleveland Orchestra Youth Orchestra, said that he chose Romeo and Juliet because it is a compelling story. “I’ve selected several movements and different sections from Prokofiev’s full ballet to create a suite that’s about a half hour long. What’s appealing about it is the color and the energy that is in the music. There is literally something colorful and virtuosic for every section of the orchestra to play.”

Feddeck said that while the Prokofiev is a great exploration of rhythm, Franck’s Symphony is a beautiful exploration of sound. “It’s a thick orchestration, so it gives the players an opportunity to work on their tone quality, articulation, and blending — creating a sense of ensemble.”

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Cleveland Orchestra with English horn soloist Robert Walters at Severance (Nov. 13)

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by Daniel Hathaway

This article was originally published on Cleveland.com

CLEVELAND, Ohio – The keyword for Thursday evening November 13 at Severance Music Center was stamina.

Without that essential quality, the performance of two demanding works by English hornist Robert Walters and The Cleveland Orchestra, led by guest conductor Tugan Sokhiev, might have fallen flat.

Instead, the concert entered the record books as a meticulously played sonic spectacular.

Geoffey Gordon’s Mad Song, written in 2020 after a fascinating poem by the 18th-century English mystic William Blake, was commissioned for Dimitri Mestdag, solo English horn of the Antwerp Symphony Orchestra.

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The Cleveland Orchestra: Vertigo (Nov. 7)

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by Kevin McLaughlin

At Severance Music Center on Friday, November 7, the lights dimmed, Saul Bass’s spirals began to spin, and The Cleveland Orchestra launched into Bernard Herrmann’s score for Vertigo, the second Alfred Hitchcock film (after Psycho) they’d played live-to-picture that week.

Film purists who regard cinema primarily as a visual art argue that live music, especially when it emanates from something as grand as a symphony orchestra in a space like Mandel Concert Hall, upsets the balance. Dialogue and car horns stay neatly in the soundtrack, while music — and the emotion it carries — grows enormous and takes over the experience.

Then again…

A live orchestra intensifies the emotions of the soundtrack, heightening everything that touches flesh and spirit. We become newly sensitized to the score. In Herrmann’s case, harmonies and Wagnerian endless melodies compel us to listen more deeply and, in the process, transform the experience.

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Cleveland Orchestra makes a sinister showing of Alfred Hitchcock’s Psycho (Nov. 5)

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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.

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Cleveland Orchestra at Severance with Yo-Yo Ma delights (Nov. 6)

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by Kevin McLaughlin

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Yo-Yo Ma was the picture of cello perfection on Thursday evening, Nov. 6 at Severance Music Center, performing with The Cleveland Orchestra as if for the thousandth time — or the first.

Relaxed, head tilted in his familiar way, he seemed tuned to some private channel of truth and beauty. When not playing, he listened with delight, urging on the musicians around him.

Ma offered Dvořák’s Cello Concerto at the end of “An Evening with Yo-Yo-Ma,” beautifully wrapped like an early holiday gift. He strode onstage with purpose, revealing a heart as large as the hall, making his entrance not as a soloist demanding attention, but as a voice rising from within. He answered the horn heroics with warmth, then crooned the second theme like a benediction.

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Robert Walters to give U.S. premiere of Geoffrey Gordon’s Mad Song

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by Mike Telin

“This is a great piece of music that just happens to be an English horn concerto,” Robert Walters said during an interview. “I’m excited about playing it because I think the audience will like it as much as I do.”

On Thursday, November 13 at ​​7:30 pm at Severance Music Center, Robert Walters, Cleveland Orchestra solo English horn, will give the U.S premiere of Geoffrey Gordon’s Mad Song. Under the direction of Tugan Sokhiev, the concert also includes Mahler’s Sixth Symphony. The program will be repeated on Friday and Saturday at 7:30. Tickets are available online.

Written in 2020, Gordon’s Mad Song was commissioned for Dimitri Mestdag, the solo English horn of the Antwerp Symphony Orchestra. When the composer contacted Walters about giving the U.S. premiere of the concerto, Walters paused. “I’d heard Geoffrey Gordon’s name — he’s the guy who writes a lot of concertos. He told me that everyone says that I’m the guy to talk to about that. And I said, I’m flattered. I’ll give it a listen.”

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Cleveland Orchestra with pianist Garrick Ohlsson at Severance (Oct. 30)

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by Kevin McLaughlin

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Frequent guest pianist Garrick Ohlsson returned to Severance Music Center on Thursday, Oct. 30, 50 years after his first appearance with The Cleveland Orchestra.

The concert, conducted by Franz Welser-Möst, reminded us why we cherish these performances year after year: consistent excellence, both familiar and new music, and the company of an artist whose quiet dignity and calm brilliance have become a reliable part of the city’s musical life.

The program opened with “Permissions,” a ten-minute churn by Tyler Taylor, the Orchestra’s new Daniel R. Lewis Composer Fellow. The Louisville, Kentucky-born composer and horn player brings a performer’s instinct for timbre and ensemble dynamics to his writing.

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