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Timothy is an organist in Cleveland, Ohio. His repertoire extends to all musical periods, with a special interest in contemporary music. As a blogger he is a regular contributor to ClevelandClassical.com. In his parallel career as a librarian, Tim is Associate Director for Academic Engagement at the Kelvin Smith Library of Case Western Reserve University.
The outgoing music director of the San Francisco Symphony made a brilliant impression with his own Meditations on Rilke, with Sasha Cooke and Dashon Burton as soloists. Berlioz’ Symphonie fantastique was given a revelatory performance.
It’s been 97 years since The Cleveland Orchestra performed Frank Bridge’s The Sea, but this weekend’s performance was worth the wait. Paul Dukas’s evergreen The Sorcerer’s Apprentice received a precise and jovial performance.
Piano icon Yuja Wang was an often self-effacing yet effective soloist in Rachmaninov’s neglected Piano Concerto no. 4. Poulenc’s 1948 Sinfonietta received its first Cleveland Orchestra performance since its 1949 US premiere here.
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.
The young Finnish conductor, stepping in on short notice, led an incandescent performance of Beethoven’s Symphony no. 7. Augustin Hadelich was an excellent soloist in Prokofiev’s Violin Concerto no. 2.
Olga Neuwirth’s complex but arresting Masaot / Clocks Without Hands opened the program, but it was the orchestra’s Mahler’s Symphony no. 5 that the audience will remember for the overpowering effect of this performance.
There were no unorthodox interpretations in this program, which featured The Cleveland Orchestra’s associate concertmaster Jung-Min Amy Lee in Samuel Barber’s Violin Concerto, just excellent, straightforward music making.
Sibelius’s rarely performed orchestral songs received memorable performances by Keenlyside and The Cleveland Orchestra conducted by Welser-Möst. Grieg’s Peer Gynt and Strauss’s early Aus Italien filled out the program.
Semyon Bychkov was the guest conductor for a fine concert that also included the US premiere of Detlev Glanert’s evocative Wide Open Land, Music with Brahms, and expansive Smetana.
Paul Jacobs was soloist in Bernd Richard Deutsch’s Okeanos, which made a strong impression. Haydn’s Symphony No. 34 in D minor and Tchaikovsky’s indestructible Symphony No. 5 filled out this outstanding program.
Debussy’s student work Rêve received its first Cleveland performance, and pianist Javier Perianes was an impeccable soloist for Ravel’s Concerto in G Major.
This titanic performance of Busoni’s 70-minute concerto was riveting, but exhausting to hear. It was preceded by a sparkling reading of Haydn’s “Military” Symphony.
Tamara Wilson was a top-notch Ariadne, supported by a strong cast, including Kate Lindsey as a passionate Composer, a thrilling Zerbinetta by Daniela Fally, and an unbeatable Bacchus in Andreas Schager.
The orchestra’s principal flute Joshua Smith was soloist for the local première of Matthias Pintscher’s Transir. Three Ravel favorites completed the program.
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.
Yefim Bronfman was the powerful soloist in Bartók’s Second Piano Concerto. Welser-Möst’s expressionistic reading of Prokofiev’s Third Symphony evoked nightmares of tormented souls.
Pantheon, by Cleveland Orchestra oboist Jeffrey Rathbun, and Hans Abrahamsen’s Left, alone with pianist Alexandre Tharaud in his TCO debut showed the ensemble’s strengths.
