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In a rewarding program of challenging, unfamiliar scores, Thomas Adès and The Cleveland Orchestra and Chorus tackle works by Sibelius, Ives, Saariaho, and Adès himself.

Klaus Mäkelä helms Mahler’s Third Symphony, the composer’s longest work, in a journey to remember with inspired playing from instrumentalists and vocalists alike. 

Klaus Mäkelä returns to Cleveland with a recent piece by Jimmy López Bellido, prefacing a pair of English works that feature Sol Gabetta, Thomas Hampson and The Cleveland Orchestra Chorus. 

The May Festival pulls all the stops to close their sesquicentennial season with Mahler’s vast and triumphant Eighth Symphony.

Franz Welser-Möst creatively fused Schubert's “Unfinished” Symphony with Berg's Lyric Suite, before leading an opulent performance of Mass no. 6 in E flat Major.

Franz Welser-Möst returned to his home orchestra in a program of works by Křenek and Mendelssohn, as starkly contrasting as they are infrequently heard.

A brilliant programming decision paired Adams’s 9/11 memorial with Mahler’s life-affirming Symphony no. 4, with the fine soprano Joelle Harvey as soloist.

Franz Welser-Möst thoughtfully paired Schubert’s final mass with Bartók’s final piano concerto, the latter featuring Mitsuko Uchida in her 100th Cleveland Orchestra appearance.

This weekend’s performance of the Symphony no. 2 in C minor had innumerable beautifully detailed moments, with two excellent soloists and an immaculately prepared chorus. 

A line-up of well-matched vocal soloists and a chorus in top form, along with passionate conducting by Franz Welser-Möst made for a memorable closing concert of this important milestone season.

The Cleveland Orchestra celebrated its 100th anniversary with a memorable concert performance of Tristan und Isolde with magnificent Nina Stemme.

Illness caused two baritones to bow out, plus an indisposed tenor on the night of the first performance. But soprano Golda Schultz, the Cleveland Orchestra Chorus and Orchestra, led by Franz Welser-Möst, ultimately revelled in Haydn’s late masterpiece.

The Cleveland Orchestra’s centennial season was off to an auspicious start with an encore presentation of Janáček’s The Cunning Little Vixen.

Franz Welser-Möst leads a compelling performance of the seldom-heard Threni.

A high-minded approach to Bach's masterpiece is undercut by an uneven performance.

A very warm concert hall and problems with musical balances worked against what was otherwise a genial reading of this contemplative work.

The Cleveland Orchestra and Joffrey Ballet team up for staged performances of Bartók's The Miraculous Mandarin and Bluebeard's Castle. 

Yefim Bronfman was a magisterial soloist for Beethoven's Third Piano Concerto, plus a rousing Choral Fantasy.

The Cleveland Orchestra Chorus joined for two of Verdi’s Four Sacred Pieces.

Paul Groves, Sir Willard White and Ruxandra Donose are the top-flight principals, with excellent support from the Cleveland Orchestra Chorus.

Besides the complete Ravel ballet, Franz Welser-Möst and Clevelanders also give a crisp account of Mozart's "Jupiter" symphony.

Joélle Harvey, Iestyn Davies, Nicholas Phan and Hanno Müller-Brachmann shine in Franz Welser-Möst's sometimes meditative interpretation of Bach's Mass in B minor.

Alan Held and Martina Janková star in a technologically and musically stunning production of Leoš Janáček's fable of nature and time.

Britten's Spring Symphony and Ryan Wigglesworth's Locke's Theatre join with Rudolf Buchbinder's thrilling account of Rachmaninov's Rhapsody, all conducted, at short notice, by Brett Mitchell, Franz Welser-Möst's assistant.

Are there musical works, even pieces generally considered to be masterpieces, that no longer can catch the listening public’s interest, no matter how expertly they are performed? I have been wrestling with this question since this weekend’s Cleveland Orchestra and Chorus performance of Haydn’s The Seasons.

When Cleveland Orchestra music director Franz Welser-Möst had to bow out of this past weekend’s performances of Carl Orff’s Carmina Burana due to a recent back injury, the orchestra’s talented young assistant conductor, James Feddeck, inherited a high-profile assignment. The set of four concerts had been heavily promoted and were sold out.

Over the past several years the Cleveland Orchestra has instituted a number of new concert opportunities to attract a new, younger audience, in response to the “greying” of its traditional audience base and the diminished interest in a season-long commitment to regular concerts.

The Cleveland Orchestra closed its 2011/12 season on Thursday and Saturday, May 31 and June 2, with stirring performances of Giuseppe Verdi’s Requiem, with the orchestra’s Director of Choruses Robert Porco conducting the orchestra, the precisely-trained Cleveland Orchestra Chorus, and an unusually well-matched quartet of soloists.