It’s already November? Yes, and the fall classical music season is in full swing. Some of these offerings, such as “Candide,” are hot tickets, so you’d better make plans soon. Here are a few of my favorite things.
Nov. 4-5: J.S. Bach’s B Minor Mass. Earl Rivers leads the CCM Philharmonia, the CCM Chamber Choir and CCM soloists in Bach’s supreme masterpiece. “The Mass in B Minor is a synthesis of every stylistic and technical contribution Bach made to music,” Rivers says. The concert takes place at 4 p.m. Saturday in Christ Church Cathedral, Downtown, and 5 p.m. Sunday, Knox Church, 3400 Michigan Ave. in Hyde Park, while CCM’s Corbett Auditorium undergoes its own renovation. Tickets: 513-556-4183, ccm.uc.edu.
Nov. 9: Matinee Musicale presents. Award-winning pianist Claire Huangci performs a recital for the storied, 105-year-old music series. Her program includes numbers from Prokofiev’s “Romeo and Juliet” – an added treat if you saw Cincinnati Ballet last week –as well as all 24 Chopin Preludes. 11 a.m. at the Anderson Center in Anderson Township. Tickets may be purchased at the door. Matineemusicalecincinnati.org.Read More »
Maestro James Levine, a Cincinnati native, will return to conduct Verdi’s Requiem for the Cincinnati May Festival opening night in May, as part of principal conductor Juanjo Mena’s first season. It will be Levine’s his first appearance in Cincinnati’s Music Hall since he conducted at the festival in 2005.
In addition, the season will feature tributes to Leonard Bernstein, whose centennial is being observed around the world in 2018. The celebrated countertenor David Daniels, a graduate of the University of Cincinnati College-Conservatory of Music, will be featured in Bernstein’s Chichester Psalms in one of the programs.
Mena’s debut festival, to take place May 18-26 in the newly renovated Music Hall, was announced on Monday via Facebook Live — a first for the festival. Dr. Rollo Dilworth, a Temple University conductor composer and choral music champion, will serve as Mena’s creative partner, as part of the festival’s new artistic model. The third member of the creative team is Robert Porco, longtime director of choruses.Read More »
Cincinnati Ballet’s production of “Romeo and Juliet” over the weekend offered another chance to hear Music Hall’s new acoustics from a different perspective – in a ballet set-up.
Much as before the renovation, the best experience for concertgoers in terms of the sound depends upon where one sits. But you must also consider the “configuration” of the hall for the type of show that is being mounted.
For the ballet at the Sunday matinee, the orchestra was in the pit – as it will also be for Cincinnati Opera productions. It was a treat to hear the orchestra playing Prokofiev’s magnificent score to “Romeo and Juliet,” which I’ve heard many times as an orchestral suite in concert. It was led with a sure hand by ballet maestro Carmon DeLeone and superbly played by the Cincinnati Symphony Orchestra.
Artistic director Victoria Morgan’s production was gorgeous in every way. As Juliet, Melissa Gelfin delivered a ravishing performance and her Romeo, Cervilio Miguel Amador, was the perfect romantic hero. But I was also curious about David Lyman’s comment in his excellent review for The Enquirer about “the many drawbacks of seeing ballet in Music Hall.”
From the gallery, the ballet performance onstage indeed seemed far away from the audience. The entire show took place behind the proscenium arch, with a very large orchestra pit in front of the stage. To me, the large pit detracted from the viewer’s focus on the stage.
But it’s ironic that this configuration – with the orchestra in the pit — offered the best sound I’ve heard this season for the listener. I sat in the GALLERY for the first time since the hall opened on Oct. 6.
Gone was the muddiness of previous weeks. The brass and winds were exceptionally clear and powerful. The string sound was much better, except in big climaxes, where it was easy for the brass to overpower.
The focus of the sound was also better. I recalled a comment from a retired musician, who thought that the orchestra needed a more embracing acoustical shell surrounding them on three sides. In fact, the walls of the pit may have actually provided that, perhaps the reason for a better sound.
Other impressions: The city has doubled the cost of parking in Town Center Garage this year, to $10. Parking in Washington Park Garage, owned by 3CDC, is now $15 for shows. I parked behind Music Hall and walked around to the front of the building. The weather was cold and raw, and I felt badly for the older people and children that I saw trying to get across the four lanes of Central Parkway to get to the front door. There were no police officers assisting, as there have been for CSO concerts.
It’s too bad that the ballet matinee was so sparsely attended. Whether the poor attendance was a result of not enough marketing, uncertainty about parking or the cold weather, I hope it’s not a harbinger of audiences to come. Especially now, in the beautifully freshened and updated hall, the dancers – and the orchestra – deserve to have a full house every time.
You’ve seen double bassist Matthew Zory performing in a tux with the bass section at the back of the Cincinnati Symphony Orchestra each week since he joined the orchestra in 1993.
But maybe you don’t know that for 16 months, Zory was inside Music Hall’s construction zone, wearing a hard hat with his camera slung over a shoulder, documenting the $143 million renovation project from the basement to the Rose Window.
“I could go anywhere, wherever I wanted,” said Zory, “When there were guys working overhead, they would put up danger tape. I know it’s a standard construction site — there were holes in the floor and no rails up yet. But the (construction crew) would help me out.”
What began as curiosity and a hunt for “cool pictures” by Zory, who “dabbles in photography,” evolved into a substantial photography book documenting the process and the people behind Music Hall’s renovation.
“Through the Lens: The Remaking of Cincinnati’s Music Hall,” a limited edition by Cincinnati Book Publishing, will be available Dec. 1.Read More »
James Darrah likes to point out that he has curated the Cincinnati Symphony Orchestra’s “Pelleas Trilogy” in three different phases of Music Hall’s renovation.
CSO music director Louis Langrée’s three year project exploring Maurice Maeterlinck’s 1893 play, “Pelléas et Mélisande” began with Arnold Schoenberg’s tone poem in Music Hall – pre-renovation. It continued last year with Gabriel Fauré’s incidental music to the play when the orchestra was displaced at the Taft Theater.
This weekend, the project culminates in Debussy’s “Pelléas et Mélisande” in the newly renovated Music Hall. The performance is in collaboration with Cincinnati Opera.
“It’s been really fun to bring an opera to life in this space,” says the Los Angeles-based director and designer. “We’re all still learning what we can and can’t do (in the theater). Some things are familiar and some different.”Read More »
Issac Selya, conductor and founder of Queen City Opera, is adding a new title to his resume: Producer. For the first time since founding Queen City Opera in 2012, he is not conducting, but is producing Rossini’s “La Cenerentola,” Friday and Sunday at the Dunham Arts Center on the West Side. The production’s conductor is Queen City Opera’s Associate Music Director Jesse Leong, and the stage director is Jacquelyn Mouritsen, coming from Indiana University.
“Since the company’s mission is to launch the careers of emerging artists, I am glad we can feature a new accomplished emerging conductor as well,” Selya says.
While the company has often featured musicians and singers from the University of Cincinnati College-Conservatory of Music, this production will be in close collaboration for the first time with the CCM Opera Department and its chair, Robin Guarino. Current CCM students will take the starring roles.
The production is presented in memory of Dr. Bob Hasl – “Dr. Bob” — who was very fond of the opera’s alternative title “Bonta in trionfo,” or “Goodness triumphs.”Read More »