Ton Koopman Archives - Cleveland Classical

Review: Cleveland Orchestra with Ton Koopman and Paul Yancich at Severance Hall (May 4)

May 14, 2013 by Special to ClevelandClassical.com

by Daniel Hathaway

The first weekend of the third year of Dutch conductor Ton Koopman’s productive residency with The Cleveland Orchestra gave Severance Hall audiences a new perspective on three Viennese classical works by Mozart and Haydn, introduced a French baroque descriptive piece by a composer the orchestra has never tackled before, and brought a true novelty to light: a late eighteenth century showpiece starring timpanist Paul Yancich.

To be precise, only half of The Cleveland Orchestra was playing on the East side of East Boulevard on Saturday evening, May 4 — the rest of the musicians had been involved all week with the two-concert series “California Masterworks” at the Cleveland Museum of Art. For Mozart’s Symphony No. 1 in E-flat, the Severance stage was set up for a period-sized ensemble of fifteen violins, six violas, four cellos and four basses, and pairs of oboes and horns. [Read more…]

Review: Cleveland Orchestra: Handel with Ton Koopman at Severance Hall (May 9)

May 13, 2013 by Special to ClevelandClassical.com

by Nicholas Jones

Like most 18^th-century composers, Handel wrote much of his music for special occasions, rather than for its own sake. But in the hands of such a master, many of his occasional compositions have transcended the functions for which they were written.

Such is the case for three Handel works performed by the Cleveland Orchestra Thursday. All of them were written for British royal occasions, but you don’t need to be a Brit to appreciate them. Under the guidance of baroque specialist Ton Koopman, the orchestra brought out both the radiance and depth of Handel’s music. [Read more…]

Cleveland Orchestra channels all things merry, bright in Holiday Concert at Severance (Dec. 13)

by Kevin McLaughlin

Photo by Roger Mastroianni

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Holiday concerts trade on familiarity, but the best of them feel less like ritual and more like reunion.

On Saturday evening, Dec. 13 at Mandel Concert Hall, The Cleveland Orchestra welcomed a full house for the second of its twelve annual Holiday Concerts, a tradition that dates back to 1919.

Led by guest conductor Sarah Hicks, with soprano Meredith Wohlgemuth and the Cleveland Orchestra Chorus, and members of the Blossom Festival Chorus under the direction of Lisa Wong, the evening unfolded with easy charm.

Throughout the performance, Hicks proved an ideal guide. Her conducting was clear and unshowy, her rapport with the audience unaffected and delightful.

[Read on…]

M.U.S.i.C. Shines at Cleveland Museum of Art (Dec. 12)

by Kevin McLaughlin

By six o’clock on December 12, winter light was already draining from the Ames Family Atrium at the Cleveland Museum of Art. Museumgoers crossed paths with concertgoers as chairs were added for late arrivals.

The pale stone space, faintly scented with art, shifted from public square to indoor gathering place — a civic thoroughfare briefly claimed for music and dance.

Much of the evening’s ease was due to Stars in the Classics artistic director Jodi Kanter, who assembled the roster of rising artists and guided the program with a light touch — offering brief remarks and filling a transition while the stage was readied for the dancers.

[Read on…]

Singers’ Club of Cleveland: To Dwell in Harmony (Dec. 9)

by Kevin McLaughlin

The Singers’ Club of Cleveland brought the joy of the season to Trinity Cathedral on Tuesday evening with a program titled To Dwell in Harmony, a holiday offering both polished and good-humored. The venerable all-male chorus — whose lineage stretches back to 1891 and includes collaborations with conductors from Beryl Rubinstein to Robert Shaw — now finds itself under new leadership.

Christopher Clark, appointed in August as Artistic Director (while serving concurrently as Director of Choirs at Case Western Reserve University), led his first Singers’ Club concert with easy command. The chorus appeared to trust him from the first downbeat, and the audience received him just as warmly.

Trinity Cathedral, whose acoustics can flatter or expose a chorus in equal measure, proved an asset. The evening opened with one of its most effective moments: Veni, Veni Emmanuel in John Englert’s arrangement. Clark placed the choir on three sides of the audience, creating a surround-sound of chant that was silky and assured — a confident beginning. [Read on…]

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