Jewish Music Festival: Ariel Quartet soars in Auerbach and Golijov

The Ariel Quartet with clarinetist Pavel Vinnitsky on Tuesday at the Skirball Museum in Clifton.

Maybe you’ve seen brief mentions of the Jewish Music Festival, with musical performances, lectures and sometimes art exhibitions taking place throughout the area. The festival is brand new, and organized by Aik Khai Pung, associate professor at CCM, where he is music director of the CCM Concert Orchestra. I noticed in an online listing that the Ariel String Quartet was playing last night at Hebrew Union College, and by luck, I was able to go.

The concert, which was co-presented by concert:nova and the Cincinnati Cultural Exchange, was held in Mayerson Auditorium in the Skirball Museum on the HUC campus. Curator Abby Schwartz provided commentary about the art by Jewish artists that surrounded us, and the paintings’ relationships to the music.

The musical artists for this program were sensational. The Ariel Quartet, quartet-in-residence at CCM, opened with Lera Auerbach’s “Frozen Dreams” and “Cetera Desunt” for string quartet. Both works were a revelation. “Frozen Dreams” was haunting and deeply personal. Auerbach’s music is simply astonishing; it is both searing and lyrical. In “Cetera Desunt” Auerbach took her cue from Shostakovich, and the listener could detect the repeating motive signifying Shostakovich’s signature. The superb performers — violinists Alexandra Kazovsky and Gershon Gerchikov, Jan Grüning, viola, and Amit-Even-Tov, cello — soared through this treacherous score with exciting precision and passion. In the frenzied passages, they dug into their strings with bows flying. I plan to try to hear more of Auerbach’s music.

Vinnitsky was serenaded with “happy birthday” after the performance.

They joined with clarinetist Pavel Vinnitsky for Osvaldo Golijov’s “The Dreams and Prayers of Isaac the Blind.” It is named for a blind, mystical rabbi who lived centuries ago, but is also a tribute to Golijov’s great-grandfather. This piece blends liturgical prayers in its outer movements with raucous Klezmer music. There could not have been a better champion for both styles than Vinnitsky, who wailed and almost danced in his seat as he performed Golijov’s riveting music, using three different clarinets.

Read the program notes for this program here.

Vinnitsky joined CCM’s clarinet faculty about two years ago. He and the Ariel Quartet will perform the Brahms Clarinet Quintet on March 26 at CCM, 7:30 p.m. in Werner Recital Hall. It’s not-to-be missed!

The Jewish Foundation is sponsor of the inaugural festival, a total of nine concerts and events. Other participants have included the Cincinnati Chamber Orchestra, composer Anna Vinnitsky, saxophonist Rick VanMatre and others.

Several more events are coming up:

Looking back on a month of music

‘Tis the season for lots of music. I hope you are all taking advantage of the wealth of holiday concerts and shows happening right now. Here are a few of my picks.

Between the CSO, which has had some amazing concerts lately, I also try to take in other shows. (Look for Cincinnati’s arts news and reviews — FREE to read on the Cincinnati Business Courier’s Arts Front.)

As I look back over the year, here are a few thoughts about four other excellent shows I’ve recently seen:

David Klingshirn, founder of the American Classical Music Hall of Fame, dies at 84

David Klingshirn, board member Trish Bryan, right, and Nina Perlove, former Hall of Fame Executive Director, presenting Philip Glass his medallion during a Cincinnati Symphony Orchestra concert in 2014. Photo provided.

David Allan Klingshirn was one of Cincinnati’s biggest boosters, who loved the city and its arts. He was the founder of the Cincinnati-based American Classical Music Hall of Fame, which has recognized 165 individuals and institutions across the nation. Anxious to shine a light on classical music, which he believed received less recognition than sports, Mr. Klingshirn was fond of saying, “Cincinnati has major-league sports and major-league classical music.”

Mr. Klingshirn died at his home in Cincinnati on June 20. He was 84.

“David was a visionary who loved classical music and its ability to touch our souls and enrich our lives,” Gary Ingle, president of the Hall of Fame’s board of directors and CEO of the Music Teachers National Association. “He was a passionate advocate for classical music and guided the Hall of Fame tirelessly for these 27 years. The death of our founder is a deeply felt loss for all of us. Our hearts are heavy but filled with gratitude for David and the great legacy he leaves. His legacy will live on through the work we will continue to do together to advance the mission and goals of this very special organization.”

The Cincinnati businessman was the owner of Tischbein Pharmacies for 30 years. In 2004, he was ordained a Deacon for the Archdiocese of Cincinnati and served at St. Peter in Chains Cathedral and St. Margaret’s Hall.

Weekend in Chicago

Muti and Palumbo taking bows following a superb performance of Beethoven’s Missa Solemnis.

A couple of weeks ago, I was able to visit Chicago for the annual meeting of the Music Critics Association of North America. It’s always eye-opening to revisit a city with exceptional arts. On this occasion, we visited Orchestra Hall for the final — and deeply moving — program led by Chicago Symphony Orchestra music director Riccardo Muti, Beethoven’s Missa Solemnis. We also went to Haymarket Opera Company at DePaul University for a rare mounting of Johann Hesse’s Marc’Antonio e Cleopatra. And on the lighter side, there was Leonard Bernstein’s West Side Story at Lyric Opera of Chicago. All of that in two days, as well as our own panel discussions … Below are some of my random impressions.

Muti and Missa Solemnis –It’s interesting that with his distinguished career, Muti, 81, had not felt “ready” to conduct the Missa Solemnis until recently. (His only other performance was with the Vienna Philharmonic in Salzburg in 2021.) “I felt not worthy even to touch the score,” he said in an interview with program annotator Phillip Huscher. He quoted Carlos Kleiber, who said, “There is some music that is better if it stays on the paper.”

Whether because of Muti’s solemn view of this work, or because it was his final set of concerts, Muti’s reading was deeply reverent, even meditative at times. I was instantly struck by the warmth and stunning ensemble of the strings in the opening Kyrie. The sound of the Chicago Symphony Chorus, prepared by the Met’s Donald Palumbo, was hushed but full. The four excellent soloists (Erin Morley, Alisa Kolosova, Giovanni Sala and Kyle Ketelsen) phrased seamlessly in a flowing legato. The Gloria was an exuberant contrast, with short attack in orchestra and chorus and an electrifying fugue. The clarity in the acoustical space of Orchestra Hall was stunning — I could hear every word. Powerful outbursts had a kind of controlled brilliance. Muti moved little as he conducted, and the music breathed from beginning to end. (I invite you to read the full review by my MCANA colleague Arthur Kaptainis on Classical Voice North America.)

I was thinking during the performance of the many connections between Cincinnati and Chicago. There was, of course, Theodore Thomas, who founded the Cincinnati May Festival in 1873 and was founding director of the College of Music (later CCM) before becoming the founding music director of the Chicago Symphony Orchestra in 1891. Fritz Reiner was CSO music director before going to Chicago. The current principal cellist, John Sharp, was formerly principal cellist of the Cincinnati Symphony. (I’m sure that some of you will think of other connections.)

And the Chicago Symphony’s current president Jeff Alexander was formerly with the Cincinnati Symphony. Alexander praised Muti’s 13-year tenure and he and the board chair announced that he will be “Music Director Emeritus for Life.” To the audience’s delight, Muti spoke engagingly about his time in Chicago, displaying quite a sense of humor.

It will be interesting to follow Chicago’s music director search, even as the Cincinnati Symphony Orchestra is also searching.

Thoughts on the operatic productions I saw in Chicago to follow…

 

 

 

 

Cincinnati native Megan Moore is 2022 George London Award winner

Mezzo-soprano Megan Moore. Photo by Jennifer Taylor

Megan Moore, a 31-year-old mezzo-soprano from West Chester Township, has won a 2022 George London Award, which includes a prize of $10,000. She was one of five winners recently announced of the 50th George London Foundation Competition.

The final round with 12 finalists took place at Gilder Lehrman Hall at The Morgan Library & Museum in New York City on Feb. 25. Susanna Phillips, international opera star and 2005 George London Award winner, was the livestream host. (Watch it here.) Megan’s performance begins at 1:01:50 in the video.

The other 2022 George London Award winners are Erik Grendahl, Timothy Murray, Blake Denson and Eric Ferring.

Megan recently completed an Artist Diploma at The Juilliard School.

Last summer, she created the role of Ino in the world premiere of John Corigliano & Mark Adamo’s Lord of Cries at Santa Fe Opera. Megan looks forward to her Metropolitan Opera debut in Brett Dean’s Hamlet, opening May 13. Among her many awards, she has won top honors from Young Concert Artist International Auditions. She’ll make her Kennedy Center debut on April 11, presented by Young Concert Artists — followed by Merkin Hall on April 20 and Carnegie Hall on May 2.

The competition for young American and Canadian opera singers has many winners who have gone on to international stardom – the list of past winners includes Christine Brewer, Joyce DiDonato, Renée Fleming, Christine Goerke, Catherine Malfitano, James Morris, Matthew Polenzani, Sondra Radvanovsky, Neil Shicoff, and Dawn Upshaw.

In the production of Terence Blanchard’s opera Fire Shut Up in My Bones that opened the Metropolitan Opera’s 2021-22 season, six George London Award winners were featured in the cast: Will Liverman, Latonia Moore, Ryan Speedo Green, Norman Garrett, Donovan Singletary, and Errin Duane Brooks.

So far, Megan hasn’t appeared lately on Cincinnati stages, but we hope that is in her future!

Hamilton County Commissioners and ArtsWave Announce COVID Relief Grants for Hard-hit Arts and Cultural Nonprofits

Melissa Gelfin De-Poli and Cervilio Miguel Amador dancing The Nutcracker from a previous Cincinnati Ballet season. Photography: Peter Mueller

Thanks to Covid-19, this has been a terrible time for everyone, including workers and performers in the arts, who have been among the hardest hit in the nation. And the new variants have not made their comeback any easier.

Hamilton County has teamed up with ArtsWave to announce that it will award $2 million in nonprofit arts and cultural grants funded through the County’s allocation of American Rescue Plan (ARP) dollars.

The grants will be awarded to combat the negative economic impact of Covid-19 on the local arts community and to fuel the region’s economic restart. Links to the applications and funding guidelines are available on the County’s Covid relief site – https://513relief.org/ and https://www.artswave.org/apply.

The Covid-19 relief grants will cover costs incurred due to business disruption, in a two-year period in which performing arts venues and museums lost significant box office and admissions revenue. The grants can also cover costs of mitigation expenses for re-opening and adaptations required for digital programming. Total grant amounts will be based on operating revenue from the prior fiscal year.

ArtsWave will host a virtual information session on Wednesday, February 3, 2022, from 12–1 p.m. answering questions and outlining the eligibility and application process. To join the information session, visit artswave.org/apply and click on “Hamilton County ARP Arts and Culture Grants Information Session.”

Musica Sacra to return to live concerts

Musica Sacra in a recording session for a livestream during Covid last season. The chorus will return to in-person performances.

As the nation reopens from a year of lockdowns, more choruses are announcing that they will be returning to live performances. Of course, during the pandemic, vocal music was considered the most deadly form of spreading the Covid-19 virus.

Musica Sacra, a 60-member chorus founded in 1965, joyfully returns for its 56th season, live and in person. This year, the chorus will also collaborate with the CCM Chorale in Patricia Corbett Theater on the UC campus.

After a year of virtual programming, this season will be emotional, said director Brett Scott.

“The selections across this season present a range of emotions that may echo what many experienced in the past year,” Scott said. “From the terrifying trumpets at the opening of our first selection, the Lord Nelson Mass, to the poignant chorales of the Christmas Oratorio that are contrasted with grand, exuberant chorus movements, to the exquisitely tender consolation that envelops you throughout the German Requiem, each of these masterworks speaks to the heart of the human experience. They are audience-pleasing works in the best sense of the word and we are thrilled that our audiences will be able to experience them with us this year.”

CCM’s Moveable Feast is virtual this year

Students of CCM’s Musical Theatre Class of 2022 and alumni guest artists Noah J. Ricketts, John Riddle, Nikki René Daniels, Leslie Kritzer and Stephanie Jae Park. (Screen grab provided by CCM)

If you’ve ever attended a Moveable Feast, the imaginative fundraising event at the University of Cincinnati College-Conservatory of Music, you’ve probably never forgotten it. The idea is to stroll from theater to theater, classroom to classroom, and sample the amazing talent of students in every discipline — from ballet to jazz to scenic design and media arts. You do this while also sampling “dinner by the bite” in wonderful food stations throughout the building.

This year, with Covid, Moveable Feast is re-imagined as a virtual event on Jan. 22. Although there won’t be the thrill of rushing down hallways with dozens of other people to make it in time to a see some Broadway hits before you dash away to catch ballet students in a scene from “Swan Lake” — the event will be able to involve viewers around the country.

It’s presented by CCM Power, a volunteer group of friends, advocates and alumni. The event provides essential support for student scholarships, projects and travel opportunities.  This year, COVID-19 cancelled paid work that students rely on and drastically changed students’ family financial circumstances. Scholarship and emergency funds are needed now more than ever.

CCM has produced major stars of stage and screen — from Broadway and Carnegie Hall to Hollywood. Alumni guest artists for the show will include stars of Hamilton, Frozen, Amazon’s The Marvelous Mrs. Maisel, Netflix’s Dead to Me and much more.

Edward Nelson Highlight Screen – This image features CCM alumnus Edward Nelson performing “Someone to Watch Over Me” for CCM’s virtual Moveable Feast. He is Accompanied by San Francisco Opera guest artist Ronny Michael Greenberg, piano. (Screen grab provided by CCM)

Opera alumnus Edward Nelson (BM, ’11; MM, ‘13) wanted to participate because, he says, “At every step further into my career, I have found myself drawing on my experiences and education from CCM. When the opportunity arose this year to give back to the institution that has given me so much, I jumped on board without hesitation.”

Cincinnati Opera panel to discuss diversity in the arts

Participants in a previous Cincinnati Opera performance of “Opera Goes to Church”

This is a no-miss:

Cincinnati Opera Center Stage presents an honest and informal discussion about diversity, equity, and inclusion in the arts, to be streamed live on social media next Thursday (Jan. 21) at 7 p.m.

The conversation will be moderated by Cincinnati Opera Artistic Advisor (and superstar opera bass) Morris Robinson. It will feature a panel of expert educators, performers, and professionals discussing opportunities to break down barriers through this important work. The program concludes with a question-and-answer session.

The panel:

• Morris Robinson, bass and Cincinnati Opera Artistic Advisor, moderator

• Flávia Bastos, PhD, Cincinnati Opera board member and distinguished research professor of art education, University of Cincinnati School of Art

• Tiffany Cooper, director of community engagement and diversity, Cincinnati Symphony Orchestra

• Jennifer A. Ingram, founder and CEO of Calibrated Lens and former vice president of diversity, equity, and inclusion at United Way of Greater Cincinnati

This event will be streamed live—registration is not required. Watch on Facebook or YouTube on Thursday, January 21, at 7:00 p.m.

The year in review in the arts

The CSO’s first digital experiment last spring in Music Hall was music for four musicians.

What a year! If you’re a musician or a music fan, you probably remember the last live concert you attended or performed before Covid-19 shut down the country in March. Mine was on March 10: My granddaughter’s middle school orchestra concert.

Looking back, I realized that my annual “best of the year” in performances could only apply to the 10 weeks before we were locked down. So I wrote my Year in Review column for the Business Courier in two parts, as BC — Before Covid — and after.

Soprano Angel Blue wowed in Barber in a CSO livestream.

There were some unforgettable shows during both periods. In the second half — a season of screens — I am still enthralled by the Sept. 26 CSO digital program streamed from Music Hall, conducted by Louis Langrée. Gorgeous-voiced soprano Angel Blue gave an emotional performance of Barber’s “Knoxville: Summer of 1915,” a piece rarely heard. And what a treat it was to hear Copland’s “Appalachian Spring” as originally scored for 13 instruments.

And in a rare live performance by Cincinnati Ballet outdoors at Sawyer Point, I loved a new work for four dancers, choreographed (and danced) to Schumann’s Piano Quintet in E-flat (fourth movement) by soloist David

Cincinnati Ballet danced at Sawyer Point

Morse. It was thrilling to see the exuberance and strength, the lifts and turns of the entire company. The program was enhanced by performances by a CSO quartet and Cincinnati Opera singers Victoria Okafor and Maria Miller.

You can read that column here (it’s free).

Earlier this year, local critic and retired opera singer Rafael de Acha asked people in the arts to answer the question, “What have you been during during the pandemic?” for his blog, rafaelmusicnotes.com.

I thank him for that, because it made me look back at how I had the opportunity to document the impact of the pandemic on our arts community in the pages of the Business Courier. Here is some of that column: