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.
Conductor Jane Glover capitalized on The Cleveland Orchestra’s affinity for Mozart in a Sunday evening concert at the Blossom Music Center, with the versatile pianist Conrad Tao.
Robert Spano conducts a fine pairing of Romantic works in his final performance with Atlanta Symphony Orchestra after twenty years as their music director.
Bach’s First Orchestral Suite and Schubert’s Fifth Symphony were perfect vehicles for the Seattle Symphony’s transformation into a vivid Baroque/Classical ensemble under McGegan’s dynamic leadership.
TCO principal flute Joshua Smith stood out in seminal works for solo flute by Debussy and Takemitsu. Organist Paul Jacobs was a capable soloist in Poulenc’s concerto, while Franz Welser-Möst led imaginatively orchestrated segments of Prokofiev’s Visions fugitives.
Kitty Whately’s parents, Kevin Whately and Madelaine Newton, joined the mezzo and pianist Joseph Middleton, reading poetry to illuminate the themes of the song groups.
The Cleveland Orchestra string and percussion sections intensify the multi-hued quirkiness of Shchedrin’s 1967 musical love letter to his ballerina wife.
New works by Michael Abels and Clarice Assad, coupled with Britten’s early Sinfonietta and Beethoven’s Third Piano Concerto, with the impeccable Yefim Bronfman, made for an exceptional concert conducted by Robert Spano.
The Buffalo Philharmonic Orchestra, conducted by JoAnn Falletta, turn in an elegant performances that included Ellen Taaffe Zwilich’s Prologue and Variations, as well as a Joseph Bologne de Saint-Georges Violin Concerto.
Music Director Louis Langrée leads a program of Schubert, Julia Perry's Homunculus CF and Anthony Davis's You Have the Right to Remain Silent, featuring Anthony McGill as an outstanding clarinet soloist.
The streamed concert showed the Aurora players' prowess as chamber musicians, joined by the excellent Swiss pianist in music by Mozart, Ravel and a specially commissioned new work by Sasha Scott.
Part of Brussels' Ars Musica festival, the concert also included a fun world premiere by Claire-Mélanie Sinnhuber, and the riveting Streaming Arhythmia by Anna Thorvaldsdottir.
Donald Runnicles conducted an imaginative chamber version of Strauss' testamentary Lieder, plus Elgar's own take on the concerto grosso form in his Introduction and Allegro.
The familiar qualities of blend and precision were in evidence in familiar works by Respighi and Tchaikovsky, as well as George Walker's thorny but arresting Antifonys.
In one of his first assignments as Music Director in Detroit, Bignamini conducts rarely-heard works by two Americans, along with an 18th-century Classical symphony by the Chevalier de Saint-Georges.
Baritone Peter Mattei brought both musical sensitivity as well as almost Berg-ian drama to Mahler’s Lieder eines fahrenden Gesellen, ably supported by Manfred Honeck and the Gothenburg Symphony Orchestra, in a successful livestream concert.
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.
