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Conductor Christoph Koncz to make Cleveland Orchestra debut

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by Mike Telin

On Thursday, July 31 at 7:00 pm at Severance Music Center, conductor Christoph Koncz will make his debut with The Cleveland Orchestra in a Summers at Severance program featuring the music of Franz Liszt, Ernst von Dohnányi and Bela Bartók. 

Due to his travel schedule we were unable to schedule an interview, but he graciously agreed to answer questions by email.  

What does making your Cleveland Orchestra debut mean to you? 

Of course it is a great honor for me to conduct The Cleveland Orchestra, one of the world’s leading ensembles with its wonderful and distinctive sound. I have been admiring the orchestra for a long time and heard them live on several occasions when they came on tour to the Vienna Musikverein. I remember a particularly touching performance of the Brahms Requiem conducted by Franz Welser-Möst. I’ve already met quite a few musicians of the orchestra and I am very much looking forward to making music with this phenomenal ensemble!

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Cleveland Orchestra: Finnish conductor Rouvali dazzles in return performance (July 17)

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by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Santtu-Matias Rouvali has only led the Cleveland Orchestra twice, but he’s already established a formula that works. The Finnish conductor skillfully matches his programs to his conducting style — whimsical, sparkling, and humorous, while remaining precise and rhythmic.

The approach meshes well with the orchestra, who easily responded to Rouvali, just as they did during his debut last fall. On Thursday, July 17, a trio of works by Beethoven, Stravinsky, and Ravel made for a lighthearted evening on the Summers at Severance series.

Nowhere was Rouvali’s magic more evident than in Igor Stravinsky’s Jeu de cartes. The wild card of the program in more ways than one, this lesser-known ballet by the Russian composer depicts an actual card game, where the mischievous Joker is eventually defeated at the end of three rounds. The conductor kept things moving briskly during the brass fanfare that opens each “Deal,” symbolizing the shuffling of the cards.

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Cleveland Orchestra performance Saturday at Blossom highlighted by debut of violinist Veronika Eberle (July 19)

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by Peter Feher

This article was originally published on Cleveland.com

CUYAHOGA FALLS, Ohio — Four fateful notes were knocking around in Beethoven’s head when he was composing many of his most famous works in his mid-30s.

This motif would, of course, find its supreme expression in his Fifth Symphony, premiered in 1808 and part of the popular imagination ever since. But just a few years before, Beethoven had tried out a variation on the idea — softer but no less suspenseful — at the beginning of his Violin Concerto.

The crowd at Blossom Music Center last night, Saturday July 19, was remarkably hushed, ready to hear the four faint quarter notes tapped out on timpani that begin the concerto. Over the next 45 minutes, violinist Veronika Eberle elaborated on the sequence in numerous flights of virtuosic fancy, floating high above the solid, sturdy accompaniment of the Cleveland Orchestra. Yet throughout, the performance remained grounded in the quiet clarity of that opening measure.

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Cooper International Piano Competition welcomes 21 young pianists to Oberlin

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by Mike Telin

“This year, we had 190 applicants,” Robert Shannon, director of the Cooper International Piano Competition, said during a recent telephone conversation. “I listened to them all, and I can tell you that the level of playing has never been higher.”

This weekend, the Cooper International Competition will welcome 21 pianists between the ages of 13 and 18 who have advanced through the preliminaries of submitted videos to participate in live rounds in Oberlin’s Warner Concert Hall from July 20 to 23.

The 21, who represent eight countries, are vying for the opportunity to play full concertos in a final round with The Cleveland Orchestra under the direction of Samy Rachid at Severance Music Center on Thursday, July 24 at 7:30 pm — and for the $20,000 first prize. Tickets are available online. Click here to view a complete schedule.

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Richard Strauss’ early symphony gets Summers at Severance Cleveland Orchestra premiere (July 10)

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by Peter Feher

This article was originally published on Cleveland.com

CLEVELAND, Ohio — In a night that saw several promising debuts at Severance Music Center, one young artist impressed so thoroughly that he’s already been invited back next season.

Richard Strauss was only 20 years old when he completed his Symphony in F Minor, which received its first Cleveland Orchestra performance on Thursday, July 10, in Mandel Concert Hall.

Of course, Strauss is no stranger to Cleveland or to the standard repertory — his music has been programmed for almost every season in the Orchestra’s century-long history. But this favorite composer still has a few surprises to offer even the most well-acquainted concertgoer.

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Osmo Vänskä and Cleveland Orchestra spin the wheel of fortune in ‘Carmina Burana’ (July 12)

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by Stephanie Manning

This article was originally published on Cleveland.com

CUYAHOGA FALLS, Ohio — When the goddess Fortuna spins her wheel, your fate is on the line. That’s the idea behind “O Fortuna,” the famous dramatic tune that has become part of pop culture thanks to its use in commercials and TV shows.

Those crashing waves of sound, lamenting life’s cruel twists of fate, both open and close Carl Orff’s “Carmina Burana,” which headlined The Cleveland Orchestra’s concert on July 12. Conductor Osmo Vänskä led the Orchestra, the Blossom Festival Chorus, and the Cleveland Orchestra Children’s Chorus in a lively performance of the work at Blossom Music Center.

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Conductor Santtu-Matias Rouvali returns to Severance Music Center

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by Mike Telin

After making his Cleveland Orchestra debut last November by stepping in for Franz Welser-Möst, Finnish conductor Santtu-Mathias Rouvali received a great honor — a return engagement.

On Thursday, July 17 at 7:00 pm, Rouvali will lead the second Summers at Severance concert in Mandel Concert Hall. The program includes Beethoven’s Symphony No. 2, Stravinsky’s Jeu de cartes, and Ravel’s Suite No. 2 from Daphnis et Chloé. Tickets are available online.

“Hello!” Rouvali said enthusiastically, answering his phone from his farm outside of Tampere, Finland. I ask him if it’s still a good time to talk. “Yes, I was just cutting the grass before departing to America, because in one week the grass will be like a jungle if I don’t cut it now.”

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Conductor Osmo Vänskä returns to Blossom Music Center

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by Mike Telin

“It’s great to come to Cleveland, because the Orchestra is always willing to do their best,” conductor Osmo Vänskä said during a recent interview. “And they expect that if someone is on the podium, that person should have the same attitude and have done their homework.”

On Saturday, July 12 at 7:00 pm, Osmo Vänskä will revisit Blossom Music Center to lead The Cleveland Orchestra in a program that includes Jean Sibelius’ En Saga and Carl Orff’s Carmina Burana. Tickets are available online.

Speaking to him via Zoom from his home in Minneapolis, I began our conversation by asking him if there is a connection between the Sibelius and Orff. “To be honest, I don’t know if they’re connected,” Vänskä said. “There are many ways to come to a final program. Obviously in this case the concert was about Carmina Burana, and we needed another piece to start with.”

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Cleveland Orchestra’s “Vox Humana” haunts with a tale of reconciliation (May 23)

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by Daniel Hathaway

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Instructions for a classical programming chatbot: design a full-length program of music that illustrates the theme of Reconciliation, using in any combination a narrator, a full symphony orchestra, a mixed chorus, a vocal monologue and an instrumental quintet.

That’s not how Friday’s Vox Humana concert at the Jack, Joseph and Morton Mandel Opera & Humanities Festival came to be. But such a prompt might help explain how apparently unrelated works by Francis Poulenc, J.S. Bach, Galina Ustvolskaya, and Richard Strauss made it from Franz Welser-Möst’s fertile imagination to the Mandel Concert Hall stage.

Based on Jean Cocteau’s monodrama, Francis Poulenc’s 1958 opera La voix humaine presents the audience with one side of a telephone conversation between a jilted woman (“Elle”) and her former lover. [Read more…]

Franz Welser-Möst leads powerful performance of Leoš Janáček’s Jenůfa (May 17)

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by Daniel Hathaway

This article was originally published on Cleveland.com

CLEVELAND, Ohio – How can an opera be so profoundly disturbing, yet so achingly beautiful?

That was the conundrum after hearing Leoš Janáček’s Jenůfa at Severance Music Center on Saturday, in a performance by Franz Welser-Möst, the Cleveland Orchestra and Chorus and 11 first-rank soloists.

Welser-Möst chose the Czech composer’s 1904 opera as the centerpiece of this season’s Jack, Joseph and Morton Mandel Opera & Humanities Festival because of its resonance with the theme of reconciliation. That’s a complex process that “transcends mere forgiveness and forgetfulness,” festival curator Elena Dubinets writes in the elaborate program book. “It entails recollection and progression.”

[Read more…]

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