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Cleveland Orchestra delivers intense, animated performance of Stravinsky’s 1913 classic The Rite of Spring (Apr. 18)

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by Daniel Hathaway | Cleveland Classical
Originally published on Cleveland.com

CLEVELAND, Ohio — On Thursday evening, while the mysterious life forces of nature were busy choreographing an early outburst of vernal colors outside Severance Music Center, guest conductor Klaus Mäkelä and The Cleveland Orchestra were deeply engaged in recreating an ancient spring ritual from pagan Russia inside Mandel Concert Hall.

Igor Stravinsky’s 1913 ballet score The Rite of Spring gave the conductor and orchestra the raw material for their task, but the large body of musicians dug deep into their physical resources, producing a Rite that was singularly explosive and terrifying in its power, but no less variegated than what nature itself was serving up.

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Vocalist Matthias Goerne and pianist Evgeny Kissin shine in recital Sunday at Severance Music Center (Apr. 14)

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by Daniel Hathaway | Cleveland Classical

Originally published on Cleveland.com 

CLEVELAND, Ohio — There are people —myself among them — whose favorite Sunday afternoon concerts are either programs of art songs or solo piano music.

German baritone Matthias Goerne and Russian-born pianist Evgeny Kissin checked both of those boxes in Mandel Concert Hall at Severance Music Center on April 14 with a program of Lieder and piano Ballades by Robert Schumann and Johannes Brahms.

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Klaus Mäkelä and Cleveland Orchestra treat listeners to a magical musical feast (Apr. 11)

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by Daniel Hathaway | Cleveland Classical

Originally published on Cleveland.com

CLEVELAND, Ohio — Music can transport you — not only emotionally, but physically — to another time and place.

Cleveland Orchestra fans who hopped on guest conductor Klaus Mäkelä’s magic carpet at Severance Music Center on Thursday evening were swept away to the streets of Lima to hear Peruvian street vendors hawking their goods, then to England for a ramble through the Malvern Hills, and finally to ancient Iraq to quaff wine with the king of Babylon and a thousand of his idol-worshiping lords. Although the evening didn’t turn out well for Belshazzar, Walton’s music raised the roof of Mandel Concert Hall by a yard or two with resplendent orchestral and choral sound.

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John Adams leads Cleveland Orchestra in riveting program of music with environmental themes (Ap. 4)

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by Kevin McLaughlin | Cleveland Classical

Originally published on Cleveland.com

CLEVELAND, Ohio — Two forest-themed works and a picture of a noir-suffused city that never sleeps formed a riveting Cleveland Orchestra program on Thursday evening April 4 in Mandel Concert Hall at Severance Music Center under the direction of guest conductor John Adams.

A good way to convince someone to care more about trees is to take them on a hike. American naturalist John Muir, who hiked with common folk and presidents alike, encouraged everyone to “climb the mountains and get their good tidings.”

Another way is to bring the trees to the people. Gabriella Smith did just that with Breathing Forests, her mesmerizing 30-minute organ concerto, composed in 2021 for James McVinnie, who was soloist on Thursday.

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The Cleveland Orchestra: organist James McVinnie performs Breathing Forests

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by Mike Telin

In her program note, composer Gabriella Smith writes that her organ concerto Breathing Forests is “a reflection on the complex relationship between humans, forests, climate change, and fire. The massive sound and architecture of the organ feels something like the grandeur of a forest to me, and its breath reminiscent of the glorious exchange of carbon dioxide to oxygen that forests perform on a massive scale. 

“This is an example of how music and art can make a difference in how we talk about climate change,” organist James McVinnie said during a telephone interview. “It’s a piece that everyone, especially young people, should hear.”

On Thursday, April 4 at 7:30 pm at Severance Music Center, McVinnie will make his debut with The Cleveland Orchestra in Smith’s Breathing Forests. Under the direction of John Adams, the concert will also include Adams’ City Noir with saxophonist Timothy McAllister as soloist and Debussy’s Prelude to the Afternoon of a Faun. The program will be repeated on Saturday at 8:00 pm. Tickets are available online.

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The Cleveland Orchestra: Timothy McAllister plays John Adams

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by Mike Telin

“It’s just a thrill to come to Cleveland,” Timothy McAllister said during a telephone conversation. “And audiences will be witnessing a piece that for the saxophone has literally made history — and I’m honored to be part of that history.”

On Thursday, April 4 at 7:30 pm at Severance Music Center, McAllister will join The Cleveland Orchestra in John Adams’ City Noir. Under the direction of Adams, the concert will also include Gabriella Smith’s Breathing Forests with organist James McVinnie as soloist and Debussy’s Prelude to the Afternoon of a Faun. The program will be repeated on Saturday at 8:00 pm. Tickets are available online.

Based in Ann Arbor, McAllister serves on the faculty of the University of Michigan, and is no stranger to Northeast Ohio, having performed Avner Dorman’s Saxophone Concerto with CityMusic in 2014. His first Cleveland Orchestra performance came in November of 2018 when Matthias Pintscher led Bartók’s The Wood Prince Suite.

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Finnish guest conductor Dalia Stasevska draws on musical nature in Cleveland Orchestra debut (Mar. 21)

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Daniel Hathaway | Cleveland Classical
Originally posted on Cleveland.com

CLEVELAND, Ohio — Works by two Finnish composers bracketed a major piece by a woman with close ties to Akron on Thursday evening at Severance Music Center. The concert marked the Cleveland Orchestra debut of Finnish guest conductor Dalia Stasevska (currently chief conductor of the Lahti Symphony) as well as the return to the Severance stage of Texas-born mezzo-soprano Josefina Maldonado (who first appeared here in John Adams’ El Niño  in November, 2022).

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Josefina Maldonado returns to Cleveland Orchestra for Julia Perry’s Stabat Mater

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by Mike Telin

Following Josefina Maldonado’s Cleveland Orchestra debut in November 2022 in John Adams’ El Niño, Stephanie Manning wrote for ClevelandClassical.com that the mezzo-soprano “more than held her own amid such a strong cast. Her round and resonant voice projected well in all registers, consistently controlled…”

On Thursday, March 21 at 7:30 pm, Maldonado will return to Severance Music Center for performances of Julia Perry’s Stabat Mater. Under the direction of Dalia Stasevska, the program also includes Einojuhani Rautavaara’s Cantus Arcticus and Jean Sibelius’s Symphony No. 2, and will be repeated on Friday, March 22 at 7:30 and Saturday, March 23 at 8:00. Tickets are available online.

“The Cleveland Orchestra is world-class, and I look forward to coming back and working with Dalia Stasevska. She’s an excellent conductor,” Josefina Maldonado said during a telephone conversation.

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The Cleveland Orchestra: Ilya Gidalevich shares insights into the 2024-25 Severance Season

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by Mike Telin
Kevin McLaughlin contributed to this article

During “Fanfare: A Patron Appreciation Event,” a special unveiling of The Cleveland Orchestra’s 2024-25 season at Severance Music Center on Friday, March 15, music director Franz Welser-Möst was joined onstage by president and CEO André Gremillet and violinist Katherine Bormann.

The conversation was lively. Welser-Möst was particularly excited to talk about soprano Asmik Grigorian, who will perform Strauss’ Four Last Songs and the final scene from Puccini’s Suor Angelica (March 13 and 15). “Not since Netrebko has there been a singer with that kind of charisma,” he said, adding that during the Salzburg performances of Suor Angelica “there wasn’t a dry eye in the house.” [Read more…]

Pianist Garrick Ohlsson, Cleveland Orchestra team up for refined, unfussy evening of Mozart (Mar. 14)

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By Kevin McLaughlin, Cleveland Classical
Originally published in Cleveland.com

CLEVELAND, Ohio — Though we missed hearing pianist Igor Levit, who withdrew due to illness, it was a pleasure, as always, to welcome Garrick Ohlsson to Severance Music Center on Thursday, March 14. With Franz Welser-Möst and The Cleveland Orchestra musicians as partners, the pianist strode onstage to render as refined and unfussy a performance of a Mozart Piano Concerto as one might hope to hear.

The Concerto No. 27 in B-flat, K. 595 — Mozart’s last — was composed in 1788, though not performed until March of 1791. Many keyboard players like to ascribe to Mozart the same pathos that attached itself to Schubert in his final years of life, but Ohlsson knows better. Mozart’s music rarely reflects immediate personal crises, and this particular concerto wasn’t designed for that anyway. (Photo by Yevhen Gulenko)

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