Ecstatic highs mark Denève’s Cleveland Orchestra program

Par Sam Jacobson, 29 avril 2019

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“Thibaudet clearly believes in the work, playing with the intensity of religious fervor”

Critique faite à Severance Music Center: Mandel Concert Hall, Cleveland, le 25 avril 2019

Higdon, Blue Cathedral

MacMillan, Piano Concerto no. 3 “The Mysteries of Light”

Debussy, Prélude à l'après-midi d'un faune

Scriabine, Le poème de l'extase, Op.54

Jean-Yves Thibaudet, Piano

The Cleveland Orchestra

Stéphane Denève, Direction

Cleveland et Franz Welser-Möst en hérauts des temps passés

Julien Hanck, 16th October

Ces dernières années, on a surtout entendu Mahler sculpté par des baguettes démiurges : celles de Rattle, de Nézet-Séguin ou de Harding. Toutes ces lectures paraîtraient outrancières face à celle que proposait Franz Welser-Möst et l'Orchestre de Cleveland à la Philharmonie.

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Brahms à la Salle Pleyel

Luca Dupont-Spirio, 20th September

Arrivés à Paris pour l'avant-dernière étape de leur tournée européenne, Franz Welser-Möst et l'Orchestre de Cleveland ont interprété Brahms avec une précision aussi intimidante que remarquable.

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Barbara Hannigan surveys American voices with The Cleveland Orchestra

Sam Jacobson, 14th February

Works by Crumb, Ruggles, Barber and Gershwin offer four distinct ideas of what American music can sound like in Barbara Hannigan’s explorative Cleveland Orchestra program.

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The Cleveland Orchestra at Carnegie Hall: symphonic extremes

Sam Jacobson, 21st January

Following a polished account of Mozart’s Jupiter Symphony, Shostakovich’s Eleventh erupted with visceral force, as Franz Welser-Möst led The Cleveland Orchestra in a performance of gripping intensity.

*****

A study in control and proportion: the Clevelanders’ Verdi Requiem

Edward Sava-Segal, 20th January

Asmik Grigorian leads a strong quartet of soloists and the Cleveland Orchestra Chorus shape the performance at Carnegie Hall.

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An uneven symphonic pairing from Franz Welser-Möst in Cleveland

Frank Kuznik, 10th January

Mozart and Shostakovich make an uncomfortable fit in a program designed to highlight their differences.

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Sam Jacobson

Sam Jacobson has been writing for Bachtrack since 2015 and is currently in Pittsburgh, having previously lived throughout the Midwest. A keen traveler, he endeavors to see all the great orchestras and opera houses across the US and abroad. Outside of music, he works as a software engineer. He also maintains a blog which can be read here.

Vivid colors and ecstatic highs mark Denève’s Cleveland Orchestra program