Zachary De Pue Archives - Cleveland Classical

Time For Three to visit Kent/Blossom as Kulas Guest Artists on July 13

July 12, 2016 by Mike Telin

by Mike Telin

Musical sparks will fly on Wednesday, July 13 at 7:30 pm when Time for Three, this year’s Kent/Blossom Kulas Guest Artists, will present a free concert at Cartwright Hall on the campus of Kent State University. (Tickets are required and can be reserved by calling 330.672.2787)

In addition to Wednesday’s performance, the band members — violinists Nikki Chooi and Nicholas (Nick) Kendall and bassist Ranaan Meyer — will coach student chamber music ensembles, conduct master classes and workshops, and participate in a Q&A session. “Wherever we go, organizations ask us to talk about the entrepreneurial side of the group,” Ranaan Meyer said during a recent telephone conversation. [Read more…]

Tuesday Musical to open season with Time for Three on October 8

October 2, 2014 by Daniel Hathaway

by Mike Telin

Although they may bill themselves as “the world’s first classically trained garage band,” anyone who has had the good fortune to hear Time for Three, knows they are one of the finest and most innovative ensembles touring today. On Wednesday, October 8 beginning at 7:30 pm in Akron’s E.J. Thomas Hall, violinist Zachary De Pue, violinist Nicolas Kendall and bassist Ranaan Meyer return to Northeast Ohio to open Tuesday Musical’s 2014-15 season. [Read more…]

Cleveland Orchestra’s holiday concerts return with plenty of festive cheer (Dec. 11)

by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio — If the twinkling lights, leafy green garlands and festive poinsettias didn’t already clue you in, the holidays have arrived at Severance Music Center. ‘Tis the season for annual traditions — including The Cleveland Orchestra’s holiday concerts, which began on Wednesday evening.

Running through December 22, the programs feature plenty of seasonal classics plus some potential new favorites. The first performance proved that this mix is a delightful recipe for festive cheer.

“Look at you all, out on a school night!” conductor Sarah Hicks proclaimed joyfully from the podium. Just as many concertgoers donned red outfits to get into the spirit, Mandel Concert Hall was also decked out with decorations and stage lighting effects.

[Read on…]

Oberlin Conservatory convincingly tells Omar’s story (Dec. 8)

by Stephanie Manning

The Cleveland premiere of Rhiannon Giddens’ and Michael Abels’ Pultizer Prize-winning opera Omar on December 8 at the Maltz Performing Arts Center proved that concert productions of opera can succeed without sets, elaborate costumes and extensive staging. Indeed, the Oberlin Conservatory presentation offered more than enough to keep the audience in the crowded house enthralled.

The Opera, which was also presented at Oberlin’s Finney Chapel two days earlier, is based on the 1831 autobiography of Muslim scholar Omar ibn Said, the only such work written by an enslaved person during their enslavement, and the only such document written in Arabic.

Rhiannon Giddens’ brilliant libretto chronicles the life of ibn Said, beginning in present-day Senegal and following him through his capture, journey via the Middle Passage, and enslavement in North and South Carolina. [Read on…]

Kirill Gerstein is captivating on piano as Cleveland Orchestra recital series continues (Dec. 4)

by Daniel Hathaway

This article was originally published on Cleveland.com

CLEVELAND, Ohio — There’s no dearth of first-class piano performances to enjoy in Northeast Ohio, but Kirill Gerstein’s contribution to the collective wealth Wednesday night was extraordinary both in concept and execution.

Playing as part of the Cleveland Orchestra’s ongoing recital series at Severance Music Center, Gerstein wove an overarching narrative from the 21 little masked ball portraits in Robert Schumann’s “Carnaval.” Then he helped composer Francisco Coll blow up the idea of the waltz in two striking, brand new pieces written for Gerstein and joined Maurice Ravel in redefining that most civilized of dances in a cataclysmic performance of “La valse.”

[Read on…]

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