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Classical Music
Janelle Gelfand on the classical music scene


Janelle's pen has taken her to Japan, China, Carnegie Hall, Europe (twice), East and West Coasts, and Florida. In fact, Janelle was the first Enquirer reporter to report from Europe via e-mail -- in 1995.

Janelle began writing for the Cincinnati Enquirer as a stringer in 1991 while writing a Ph.D. dissertation in musicology at the University of Cincinnati College-Conservatory of Music. She joined the Enquirer staff in 1993.

Born and raised in the San Francisco Bay Area, where she graduated from Stanford University, Janelle has lived in Cincinnati for more than 30 years. In her free time, this pianist plays chamber music with her circle of musical friends in Cincinnati.

She covers the Cincinnati Symphony, May Festival and Cincinnati Opera, the Cincinnati Chamber Orchestra, chamber music ensembles, and as many recitals and events at CCM and NKU as possible.

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Saturday, May 27, 2006

A May Festival Night at the Opera

Listeners at the May Festival might have asked themselves Friday night, “Are we at the Met?”

Friday’s three-hour concert performance of Mozart’s singspiel, “The Abduction from the Seraglio,” was a thrilling evening of great operatic singing, which ended with a roaring, 10-minute ovation despite the late hour. It wasn’t just because of the coloratura fireworks of soprano Mary Dunleavy in the role of Konstanze, or the spectacular vocal power and comic acting of Morris Robinson as the bloodthirsty overseer Osmin.

Nor was it just the touch of Hollywood glamour added by actor Michael York, who navigated the narration, as well as the speaking role of the Pasha Selim, with enormous charm.

Altogether, this was Mozart as it should be performed, with a fresh, well-matched ensemble, sparkling music and entertaining, but not overdone, antics onstage. In the end, the beauty of Mozart’s music shone through, and we were left with the profound message of forgiveness rather than revenge.

On the stage, James Conlon presided over a chamber-sized Cincinnati Symphony Orchestra, while York balanced on a stool. The script by Marie These Squerciati, commissioned by Conlon, was a witty mix of the libretto woven with commentary about such things as the 18th-century Viennese fascination with the exotic Turks.

In the story, pirates attack the ship of the Spanish lady Konstanze and her English maid, Blonde, selling the ladies, along with Blonde’s boyfriend, Pedrillo, to the Turkish potentate Pasha Selim. Pedrillo and Belmonte (Konstanze’s fiancé) try to rescue the ladies from the Pasha’s harem.

Frequently, concert versions are just a poor cousin of a fully staged production, where singers usually stand-and-sing. But this was refreshingly engaging, because the singers (who were in concert dress) communicated with each other and inhabited their roles convincingly, with minimal but clear gestures.

The singers were all new to the May Festival. In her debut, American soprano Dunleavy, who recently sang Pamina in the Metropolitan Opera’s Julie Taymor production of “The Magic Flute,” tackled Mozart’s show-stopping arias brilliantly and fearlessly, with a voice as scintillating as crystal. Her greatest moment was her great Act II recitative and aria, “Traurigkeit ward mir zum Lose” (Sorrow is my fate), a lament sung with intensity, depth and stunning expression. In the heroic aria that followed, “Martern aller Arten” (All manner of torments), she ignited her flawless coloratura runs and trills with power and determination, her voice seamless through every range.

(It may be no surprise that on Thursday, Dunleavy was named “2006 Maria Callas debut artist of the year” by Dallas Opera.)

Making his United States debut as Belmonte, German tenor Matthias Klink impressed for the effortless, genuine quality he brought to his singing. His Act II aria, “When tears of joy are flowing,” was ardent and superbly controlled, and he sang consistently all evening with great expression and lyric beauty.

Robinson, a graduate of The Citadel, was delightfully buffo in his festival debut as Osmin. He struck a formidable presence, gloating and relishing the torture he was planning, while projecting a voice of astonishing color, depth, flexibility and power.

Amanda Pabyan made a charming, pert Blonde, who sang sweetly (if a bit sharp) in “Durch Zartlichkeit” (With tenderness), navigating the coloratura well. Though Matthew Garrett did not have a large voice, he was ideal as Pedrillo, wonderfully conveying his trepidation in “Off to Battle” and singing all evening with character.

There were many fine moments in the ensembles. The Act III love duet between Klink and Dunleavy, as they pledged to die for each other, was radiant and sung with a memorable oneness of spirit. Osmin’s drinking duet with Pedrillo (Garrett and Robinson) was hilarious.

Weaving it all together, York was an engaging storyteller who performed his lines with nuance. He changed his timbre and tone convincingly as Selim, saying deeply and magnanimously to Konstanze lines such as, “I love you more than any of my wives.”
(In addition to the English narration, there were surtitles for the singing, which took place in German.)

Conlon collaborated with his singers seamlessly. The orchestra was blustery in the Turkish Janissary moments, and captured the humor and energy of the score. In particular, the winds deserve kudos for some of the evening’s most stunning playing.

The May Festival Chorus had just a cameo appearance, but added vigor to the Janissary choruses that open and close the opera.

The May Festival concludes Saturday night with Haydn’s “The Creation.”
E-mail jgelfand@enquirer.com


Tuesday, May 23, 2006

Season's best


The Cincinnati Symphony released its season stats this week, and below are the top 5 shows of the season:

The top five best attended Cincinnati Symphony Orchestra concerts in 2005-06 (average attendance for the weekend):

1. Opening weekend, Beethoven’s Ninth, Paavo Järvi conducting (Sept. 16-17), 2,968

2. Järvi conducting Gershwin, Bernstein and Kurt Weill (April 21-23), 2,667

3. All-Rachmaninoff concert with Järvi and NKU grad Anna Polusmiak (April 27-29), 2283

4. All-Mozart concert with Jaime Laredo conducting (April 7-8), 1,988

5. Järvi conducting the season finale (May 5-6), 1,978

Take a poll on the Enquirer Web site to vote for your favorite!


Sunday, May 21, 2006

British invasion at May Festival


The Cincinnati May Festival continued a theme of hope and healing in its second installment Saturday night, featuring Sir Michael Tippett’s oratorio, "A Child of Our Time."

The festival’s director of choruses, Robert Porco, was on the Music Hall podium for this all-English program with the May Festival Chorus, Cincinnati Symphony Orchestra and four excellent soloists. Two of the program’s three pieces -- by Tippett and Ralph Vaughan Williams -- were new to the May Festival, which may be the reason the hall was only about half-filled. Those who stayed away missed some extraordinary music, as well as some inspired music making.

Writing at the onset of World War II, Tippett was inspired by an incident in which a Polish Jew killed a Nazi, providing an excuse for the Germans to kill and terrorize Jews in what later became known as "Kristallnacht."

But his oratorio also encompasses a more universal human condition, addressing all those who are oppressed or excluded. And to express that universality, Tippett used spirituals -- such as "Steal Away" and "Nobody Knows the Trouble I See" -- in the way that Bach used chorales in his Passions. The composer wrote his own text.

This was a work to showcase the chorus, which projected a warmly expressive quality in the spirituals and sang well through sometimes-complex counterpoint. There was the arresting color of the swirling choral fugue on the words "We are as seed before the wind" (Part I), and the pointed, dark quality of the "Terror Chorus," which told of Nazi retribution.

The four soloists – soprano Cynthia Haymon, mezzo Phyllis Pancella, tenor Rodrick Dixon and baritone Lester Lynch – were excellent storytellers. Haymon’s emotional cadenza leading into "Steal Away" was spellbinding, and the spiritual was beautifully sung by the chorus and soloists.

Porco is not only a gifted choral director (who has added the Cleveland Orchestra Chorus to his resume) but also a fine conductor. His view was solemn and tender. He paced the work effectively, though I would have like a bit more momentum and color in some of the spirituals.

Tippett’s leaner textures in the orchestra evoked chilling desolation, and his jazzy inflections were subtle. One of the joys of the festival so far has been the Cincinnati Symphony, which again turned in a superb performance.

In the first half, Porco led two choral masterpieces by Vaughan Williams. "Serenade to Music," not heard at the May Festival since 1970, was flowing, serene and lushly orchestrated.

The chorus projected a breathtaking color in this glowing performance, and the four soloists again offered expressive contributions. Associate concertmaster Rebecca Culnan added refined playing in the violin solo. The performance ended with Shakespeare’s words, "sweet harmony," and indeed, it was.

Porco’s chorus achieved a beautiful legato line in another choral gem, Vaughan Williams’ "Toward the Unknown Region," an inspired setting from Walt Whitman’s "Leaves of Grass."

The May Festival continues today at the Cathedral Basilica (sold out) and next weekend in Music Hall. Tickets: (513) 381-3300.
E-mail jgelfand @enquirer.com


Friday, May 05, 2006

Season finale

I got so many calls last week from folks who couldn't find the symphony review, I decided to post this week's here. It should also be on www.enquirer.com, keyword: symphony review.

It happens. Violinist Henning Kraggerud got to the end of a beautifully executed first movement in the Beethoven Violin Concerto Friday night – and snapped a string.
With a sheepish grin, he trotted off stage, traded his violin for another and continued the piece with absolute focus, as if nothing had happened.

That was just a minor glitch in an evening of splendid music making for the Cincinnati Symphony Orchestra’s season finale Friday in Music Hall. The gifted Norwegian violinist, stepping in for an ill Akiko Suwanai, impressed with his gorgeous, relaxed sound as much as for his unique interpretation of Beethoven.

On the podium, Paavo Järvi opened with an earthy Bartok Dance Suite and closed with an electrifying account of Mendelssohn’s Symphony No. 3 in a Minor, “Scottish.”

Although he’s not yet well known in this country, Kraggerud, 32, has a busy career in Europe, and is championed by his countryman, pianist Leif Ove Andsnes. Tall, lanky and boyish, he seemed immediately at ease, projecting a pure, elegant tone and legato line on his Bergonzi violin (he did not play the “Ole Bull” del Gesu). His was a sweeter interpretation than most, although his tempos moved along. There was refreshing spontaneity to his phrasing – he’d pull back on a lyrical theme and then smile at its effect.

He injected his own personality into his cadenzas, too, which were of his own invention. The first involved virtuosity in a Beethoven vein; the second was freer and seemed as if he was improvising it on the spot.

Most refreshing was that the violinist played with a genuine sense of joy, even when tossing off technical feats. But mainly one noticed his beautiful line. The slow movement, after the violin switch, was a vehicle for his lyrical gift, and his tone glowed in the pianissimo passages. The finale danced, and nothing was glossed over, despite its quicksilver tempo.

Kraggerud’s collaboration with the orchestra was superb; he turned, as if playing chamber music. Järvi led the orchestral exposition in one broad arc, and never overpowered the soloist.

Instead of a bon-bon for an encore, Kraggerud played the second movement of Mozart’s Violin Concerto No. 5 – transposed to a different key, and adding in the accompaniment, too. Wow!

Järvi’s view of Mendelssohn’s Third was also unique – infused with that inner energy and intensity we have come to know with his interpretations. He cultivated a rich, full-blooded sound in the strings, who played with refinement and precision of ensemble. The scherzo came off in one big flourish – almost impossibly quick – but the musicians came through with chortling winds and blustery horns.

Järvi found drama in each movement. The Adagio had great noble themes and intensity in its dotted rhythms. The finale was supercharged, with especially polished playing from the winds and horns. Järvi urged on his players with flying arms, turning to galvanize each section.

It was truly exhilarating.

At intermission, the orchestra honored retiring violist Judith Martin for 34 years of service.

Also, president Steven Monder announced that the second assistant concertmaster chair will become the Serge Shababian Chair, named for the violinist who retired four years ago after 38 years in the violin section, and left a bequest after he died last year.

The concert repeats at 8 p.m. today. Tickets: (513) 381-3300.
E-mail jgelfand@enquirer.com


Thursday, May 04, 2006

Catching up with Paavo


Every once in a while it's good to check in with CSO music director Paavo Jarvi, who announced today that he is planning to take the orchestra on a West Coast tour next April. Alas, they're not going to Disney Hall, or my hometown City-by-the-Bay, but some of the venues, such as Orange County and UC Davis look interesting.

I thought you'd like to eavesdrop on our conversation:

The tour, Jarvi says, "is part of our plan to try to create a profile in the United States. Because one of the things about the United States and our orchestra is, we are more well known outside, in Asia and Europe. Because there are no preconceived ideas, and in America there's a certain -- "

Stereotyping?

"Exactly."

I mentioned the blurb on the Orange County Performing Arts Center Web site, about "the nation's fifth oldest orchestra." Everything is always prefaced by that, which automatically gives Cincinnati a staid, old-fashioned image.

"The problem is that everything needs to be fought here, what Cincinnati can do and what Cincinnati is. Cincinnati is just as impressive as a city, as many other cities in America. It has a certain preconceived reputation," he says.

Jarvi was coming off of a busy three weeks of concerts and a recording session for his first all-Rach album with the CSO. "It felt good. I don't know how it will come out, but I think it'll be fine," he says.

Leonidos Kavakos is to be the tour soloist -- an easy choice, Jarvi says, "because after he came here (in Sept.) we had such a natural understanding, that I thought this would be a good opportunity to do something more with him."

I pointed out to Jarvi that Kavakos came to Cincy first as a young violinist, but this time I really felt that he had arrived at that point where he's really playing like a major artist.

"Exactly," Jarvi said. "And I think he is the kind of -- not to say late bloomer, but he has earned his success. He's not one of those kids who was sort of put on the big stage, and it's sink or swim. He's paid his dues and developed into an individual. That's the main thing -- individuality, that I like."

And for music, Jarvi is taking Nielsen's "Inextinguishable" Symphony. Was that a hard sell?

"Yes, we had to fight for it a little bit, because for some reason it's still to this day not entirely accepted as a kind of obvious part of repertoire. But I think that once they hear the piece, they'll be convinced."

Jarvi recently got some nice reviews leading the LA Philharmonic while his good friend Esa-Pekka Salonen was out of town. Is he guest conducting again out West next year?

"No, I try to guest conduct as little as possible. The only guest conducting I'm doing next year in America is Cleveland and Chicago," he says.

Aside to readers: In fact, Jarvi is one of those who is being seriously scrutinized in Chicago, as a possible successor to Daniel Barenboim.

How does he feel at the end of his fifth season? (Final concerts are Friday and Saturday in Music Hall.)

"Very tired, in fact! I mean, at the end of five seasons, I feel very well. I feel very good about what's going on here. At the end of the season, I always feel a little run down! My season doesn't really end; it continues."

Indeed, it's been a momentous year, in which he also got married to violinist Tatiana Berman. There's been no time for a honeymoon, although he's hoping for "a little time to do something in July," he says.

I mention that I noticed he's conducting for the "Baltic Sea Festival" in August, and that's something I'd like to go to.

"You should, because that's a very nice festival. I'm doing two concerts there (in Stockholm), one with the Estonian Orchestra and one with the Mariinsky Orchestra."

Finally, our conversation turns to Music Hall -- the article about crime in the neighborhood and a planned revamping of the hall. Has he gotten much feedback?

"Yes, many, many, many people were talking about it and many people still are talking about this. I think it's very good to approach the subject and to keep talking about it because it has gotten a lot of people thinking right now.

"I have gotten notes from a lot of people who were afraid we were going to leave and abandon the hall. It's not really the case, but it's important that people start thinking about it and participating in this. I'm very happy that this has generated so much talk."

Have they hired an acoustician?

"We don't have an acoustician. We just have a variety of people (theater consultants) who are going to give us options of what can be done. It now seems to be moving along. At one point quite soon there should be a decision of which direction we should go."

Attendance picked up at the end of the year. Is that encouraging?

"I think it's a little better, but it doesn't fundamentally change the issue. But it is better -- and I think it has to do with the repertoire.

"But that's exacty my problem: In order for us to remain a relevant musical organization, we cannot just become a Top-40 performer, playing the most popular pieces that guarantee sold-out houses. Our responsibility is to also do music that is new and is not as popular. Otherwise we will never develop a new audience."



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