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The Cleveland Orchestra MLK Celebration Concert: a conversation with violinist Amaryn Olmeda

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by Mike Telin

It’s always fun to ask someone how it feels to be making their debut performance with The Cleveland Orchestra. And while all the responses come with excitement, there was a bit of extra enthusiasm in the voice of Amaryn Olmeda.

“I can’t wait,” the 15-year-old violinist said during a recent interview. “It’s just so crazy to me because I grew up listening to all their recordings — putting them on my playlist and playing along with them. Then all of a sudden I’m performing with them. So I’m very excited for this opportunity and I’m very honored that they chose me to play with them at their Martin Luther King concert.”

On Sunday, January 14 at 7:00 pm at Severance Music Center, Daniel Reith and William Henry Caldwell will lead The Cleveland Orchestra and The Martin Luther King Jr. Celebration Chorus in a program that commemorates 60 years since the passing of the Civil Rights Act of 1964, which prohibited discrimination based on race, religion, sex, or national origin. The concert will feature works by J. Rosamond Johnson, Adolphus Hailstork, Jame P. Johnson, and the Orchestra’s Daniel R. Lewis Composer Fellow, Allison Loggins-Hull. Click here for free tickets.

The program will also include Maurice Ravel’s Tzigane with soloist Amaryn Olmeda, winner of first prize and the audience choice award at the 24th Annual Sphinx Competition. I reached the violinist by phone and began by asking her how she came to choose the piece.

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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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DIARY: Monday, December 11, 2023

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by Jarrett Hoffman

IN THIS EDITION:

•Today: SalonEra continues with “Songs for Social Justice,” featuring tenor Haitham Haidar and countertenor Michael Walker (left to right).

•Announcements: a program to introduce U.S.-based performing artists to international presenters, Ohio Arts Council grants, and two new ASO hornists

•Interesting reads: a bill focusing on consumer protections for tickets to live entertainment, the effects of the Philadelphia Orchestra’s recent visit to China, and the creation of KSU marching band half-time performances

•Almanac: Hector Berlioz and his Sacred Trilogy, and the debut concert of The Cleveland Orchestra

HAPPENING TODAY:

Les Délices’ SalonEra series continues its fourth season with “Songs for Social Justice,” premiering tonight on YouTube and Facebook at 7:30 pm, and already available in podcast form. “Renaissance lute songs, African American Spirituals, and traditional Lebanese melodies become vehicles for storytelling as Michael Walker (countertenor) and Haitham Haidar (tenor) explore themes of identity and representation, struggle and resilience, and community and belonging.” The episode was filmed in front of a live studio audience at Heights Theater earlier this fall — a first for SalonEra.

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Pietari Inkinen to make Cleveland Orchestra debut

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by Mike Telin

“I am thrilled to be making my debut with this wonderful orchestra,” Pietari Inkinen said. “The Cleveland Orchestra is one of the greatest in the world and for any conductor it is an honor to be invited to conduct in Cleveland.”

On Friday, November 24 at 7:30 pm at Severance Music Center, the Finnish conductor will lead The Cleveland Orchestra in Dvořák’s Othello Overture and Symphony No. 8, as well as Tchaikovsky’s Violin Concerto with Augustin Hadelich as soloist. The program will be repeated on Saturday at 8:00 and Sunday at 3:00. Tickets are available online.

Born in Kouvola, Finland, Inkinen began studying the violin and piano at the age of  four. He attended the Sibelius Academy, where he graduated with diplomas in violin in 2003 and conducting in 2005, and also studied violin at the Hochschule für Musik Köln. As a violinist, he has appeared as soloist with many orchestras including the Finnish Radio Symphony and Helsinki Philharmonic, and as a chamber musician he has appeared with the Inkinen Trio at the Wigmore Hall and St. John’s Smith Square.

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Barbara Hannigan makes a compelling debut conducting the Cleveland Orchestra

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Critically acclaimed Canadian soprano Barbara Hannigan has built a separate – though sometimes simultaneous – career as a conductor. She made her conducting debut with the Cleveland Orchestra on Thursday, leading the ensemble in works by Haydn, Strauss Vivier, and Ligeti. Photo: Roger Mastroianni

This article was originally published on Cleveland.com 

by Kevin McLaughlin

Barbara Hannigan, the Canadian dynamo who started singing professionally at 17 and later added separate — though sometimes simultaneous — responsibilities as conductor, has at last made her debut in that role with The Cleveland Orchestra. That she might give soaring accounts of mainstream and contemporary works by Haydn, Strauss Vivier, and Ligeti, was hoped for, even if not surprising, but that she should make such works about mourning, death, and loneliness so compelling and listenable, may be a good reason to have her back.

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The Cleveland Orchestra presents Claude Vivier’s Lonely Child: a conversation with Aphrodite Patoulidou

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by Mike Telin

Canadian composer Claude Vivier was born in 1948 in Montreal. That same day he was placed in an orphanage by his mother where he would live until age two and a half, when he was adopted by the Vivier family. The composer spent his entire life in hopes of finding his birth parents — but to no avail. His ongoing search for his identity inspired many of his compositions including his 1980 work for soprano and orchestra, Lonely Child.

On Thursday, November 9 at 7:30 pm, soprano Aphrodite Patoulidou will sing Vivier’s haunting work with The Cleveland Orchestra. The Severance Music Center program, under the direction of Barbara Hannigan, also includes Joseph Haydn’s Symphony No. 44 (“Trauersinfonie”) and Richard Strauss’s Death and Transfiguration. The program will be repeated on Friday at 11:00 (no Vivier) and Saturday at 8:00. Tickets are available online.

Born in Thessaloniki, Greece, Aphrodite Patoulidou exemplifies the 21st-century creative. Now based in Berlin, the soprano is also a songwriter, photographer, painter, and poet. She was also the lead singer with the heavy metal band Igorrr.

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Cleveland Orchestra premiere if ‘Whereas the Reality Trembles’ percussion extravaganza steals the show from Mozart and Tchaikovsky (Oct. 5)

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Photo: Roger Mastroianni

This article was originally published on Cleveland.com

by Kevin McLaughlin

The world premiere of a percussion extravaganza stole the show on Thursday night in Mandel Hall at Severance Music Center, and may have set a record for the most percussion ever assembled on one stage.

Beginning the concert, Franz Welser-Möst’s account of Mozart’s Symphony No. 29 was airy and buoyant, despite larger-than-fashionable forces (42 strings). The outer movements were joyous and rhythmically meticulous, and the Orchestra’s ability to coalesce and balance was uncanny.

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Cleveland Orchestra and pianist Daniil Trifonov deliver thrilling season opener of Brahms and Prokofiev (Sept 28)

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This article was originally published on Cleveland.com (photos by Roger Mastroianni.)

By Daniel Hathaway

CLEVELAND, Ohio — The time-honored classical program format of three works was missing its overture at Severance Music Center on Thursday evening as Franz Welser-Möst led the Cleveland Orchestra in its official season opener. But a gargantuan German piano concerto and a stentorian Russian Symphony added up to a full evening overflowing with superlatives.

Not to mention the impressive pianistic pyrotechnics of international phenomenon and local hero Daniil Trifonov, or the enthralling sonorities created by the Cleveland Orchestra even when the material itself turned menacing.

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Cleveland Orchestra provides the live soundtrack to ‘Amadeus,’ reveling in the splendor and genius of Mozart (Sept 21)

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This article was originally published on Cleveland.com

By Peter Feher

CLEVELAND, Ohio — The classical season at Severance Music Center got off to a shocking start on Thursday, Sept. 2, with the Cleveland Orchestra’s live performance of the score to Amadeus. In the first half of the evening alone, there was cursing, flatulence, some hanky-panky, an attempted suicide, and much talk of murder — and all because of one 18th-century composer.

The brilliant 1984 film directed by Miloš Forman was adapted from Peter Shaffer’s 1979 play of the same name — Shaffer also wrote the screenplay. Yet nothing about Mozart’s character as portrayed in Amadeus should really scandalize contemporary audiences. The myths and misconceptions around the life and work of Wolfgang Amadé Mozart — he preferred Amadé over Amadeus — would sooner upset a historian than outrage the average 21st-century concertgoer.

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Simone Lamsma brings Saint-Saëns violin concerto to Blossom Music Center (Aug. 26)

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by Kevin McLaughlin

The Cleveland Orchestra’s final classical concert at Blossom Music Center on Saturday, like the last rose of summer, was the unexpected apogee of the season. Transforming a generic-sounding program titled “Impressions of France and Spain,” conductor Fabien Gabel captivated in works of Ravel, de Falla, and Saint-Saëns’ Violin Concerto No. 3, with which soloist Simone Lamsma won everyone’s heart.

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