[VIDEO] Cleveland Ballet presents Messiah with BlueWater, Cleveland Chamber Choir

March 9, 2026 by Stephanie Manning

by Stephanie Manning

Handel’s Messiah will come to life at Playhouse Square on March 20-21 in a co-production by Cleveland Ballet, BlueWater Chamber Orchestra, and Cleveland Chamber Choir. Gregory Ristow will conduct the live musical forces as the dancers perform the iconic two-hour oratorio, choreographed by Robert Weiss.

Take a look inside rehearsal and hear how this collaboration came together in the video below, featuring Cleveland Ballet artistic director Timour Bourtasenkov and répétiteur Dameon Nagel.

Messiah will be presented at the KeyBank State Theater on March 20 at 10:30 am & 7:00 pm, March 21 at 7:00 pm, and March 22 at 2:00 pm. Tickets available online.

Watch the video below and find it on Instagram and Facebook.

About Stephanie Manning

Originally from the Washington, D.C. area, Stephanie Manning trained as a bassoonist at Oberlin Conservatory before finding her way into journalism as a classical music critic. She completed a graduate diploma in journalism at Concordia University before recently returning to NE Ohio to continue writing for ClevelandClassical.com. Her writing has appeared in The Montreal Gazette, CBC Montreal, Early Music America, and more. When not writing, you can find her either working on her latest cross-stitch project, watching Formula 1, or exploring local bookstores.

World premiere of “La Diosa” leads Les Délices to Latin America (Feb. 28)

By Peter Feher

There’s something sacred about the female voice. And while the title of “La Divina” has already been claimed, today’s sopranos might still aspire to a similar status — “La Diosa,” perhaps.

That’s the self-assertion made early on in Soy La Diosa (“I Am the Goddess”), a prophetic new piece by composer Gilda Lyons. The work’s soloist delivers this phrase after detailing, in alternate Spanish and English lyrics, the various guises her spirit can take: “messenger,” “creator,” “warrior,” “protector,” “shadow,” and “song.” Naturally, such shape-shifting calls for a comparable array of vocal techniques, everything from whoops to whispers to full-throated high notes.

Only a confident performer could embody these powerfully clashing roles, and soprano Estelí Gomez was in her element singing the world premiere of Lyons’ score on Saturday, February 28, at the Heights Theater. If the afternoon felt vaguely out of time and place — with the period instrumentalists of Les Délices not just accompanying but commissioning this contemporary endeavor — then ethereal aims accomplished.

[Read on…]

Arts Renaissance Tremont: The Art of Influence (Mar. 1)

by Kevin McLaughlin

Arts Renaissance Tremont titled their program on Sunday, March 1 “The Art of Influence.” The premise was simple: students now fully launched into professional life performing beside the teachers who shaped them. It was partly debutante’s ball, partly show of pride.

Pilgrim Congregational UCC is a round room — its pews curve inward, the ceiling rises gently, and sound returns generously. On Sunday afternoon the space felt less like a sanctuary than a living room. Erica Brenner, president of ART, greeted the audience warmly, and artistic director Feza Zweifel served as a calm and appreciative emcee.

Cleveland Orchestra percussionists Thomas Sherwood and Tanner Tanyeri opened with Andy Akiho’s Karakurenai. Written for variable instrumentation and played here on orchestral bells (Sherwood) and vibraphone (Tanyeri), it’s a study in interlocking rhythm. As a duet, the piece becomes a test of alignment and nerve.

[Read on…]

Cleveland Orchestra with Alain Altinoglu and Alisa Weilerstein at Severance (Feb. 26)

by Daniel Hathaway

This article was originally published on Cleveland.com

CLEVELAND, Ohio — The Cleveland Orchestra’s program on Thursday at Severance Music Center looked strange on paper, beginning as it did with the Cleveland premiere of an intellectually thorny cello concerto and ending with two of Richard Strauss’s dazzling tone poems played back-to-back.

But Til Eulenspiegel’s Merry Pranks and Don Juan proved to be effective palate cleansers following Alisa Weilerstein’s commanding performance of Unsuk Chin’s Cello Concerto. Setting its challenges for the listener aside, you could concede control over the proceedings and let conductor Alain Altinoglu be your tour guide through the mischievous and lascivious exploits of the two bad boys that Strauss immortalized in his virtuosic scores.

[Read on…]

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