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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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Sunday, May 27, 2007

Stabat Mater spectacular finish to Festival

In case you haven't seen the review online yet, here it is:

If you closed your eyes, you might have thought it was an opera evening at the May Festival, graced once again by thrilling voices. But it was Rossini's "Stabat Mater," in all its operatic power and glory, that brought down the house in Music Hall on Saturday night.

For his concluding festival program, James Conlon led the "Stabat Mater," not performed at the festival since 1988, and Gluck's "Orpheus and Euridice," just presented once before by James Levine in 1976. The two works could not have been more different – "Orpheus," an Enlightenment-era opera composed to the famous myth, refined and stripped of all musical excesses, and the "Stabat Mater," an opulent piece that straddles the worlds of the sacred and the opera stage.

A concert version of Acts II and III of "Orfeo" sung in Italian formed the first half. In the myth, the musician Orpheus descends into Hades to bring back his wife who has died, on the condition that he not look at her. She reproaches him, he looks, and – unlike the myth – there’s no tragic ending. Amore (sung with charm by Michele Losier) appears to reunite the lovers.

With Conlon leading a reduced Cincinnati Symphony Orchestra, the forces performed the opening scene with intensity. The May Festival Chorus and May Festival Youth Chorus provided spectacular color as the Furies, and projected a lush, full-bodied and beautifully shaded sound throughout.

Mezzo-soprano Michelle DeYoung took the role of Orfeo with a voice of extraordinary power and timbre. Although her involvement was slow to take fire, her "Che faro" was deeply felt. An impressive young American soprano Ellie Dehn made an ideal Euridice. The beauty of this opera is in its simplicity – but the longer stretches of recitative sagged. Even though it was a concert version, I wished that the singers had communicated more with each other.

After intermission, Rossini's "Stabat Mater" was riveting. The text is the sacred 13th-century poem that describes the Mother of Christ as she stands before the cross. Rossini wrote it during two periods of his career, a decade apart. The first six sections seem straight out of "The Barber of Seville," while the last four are more spiritual and influenced by Bach.

An extraordinary quartet of soloists added excitement to the work's virtuoso arias and ensembles. The opening chorus, "Stabat mater dolorosa," with soprano Sondra Radvanovsky’s thrilling soprano soaring above, set the stage for this dramatic reading. She brought emotion to every word, and her fluid, powerful instrument and stunning musicianship graced each of her appearances.

Her well-matched duet with mezzo-soprano DeYoung, "Quis est homo," was one of the highlights. It was a treat to hear DeYoung in a more extroverted vein, as she added a few coloratura runs of her own. Her cavatina was exquisite.

Tenor Rodrick Dixon possesses a virile, not large, but focused voice. His high notes and florid cadenza elicited a few "bravos" from the crowd. One of the more spiritual moments came in bass Morris Robinson’s beautifully phrased "Pro peccatis" (For the sins of the world), communicating warmth, an effortless quality and a voice of imposing size.

The chorus, too, performed thrillingly, singing with discipline, fine diction and enthralling color and navigating the final double fugue magnificently. The contrasts in power and mood between the explosive "Inflammatus et accensus" and the quiet, a cappella "Quando corpus morietor" (When my body dies) were unforgettable.

Conlon captured the work’s tragic undercurrent in sweeping, dark orchestral textures and galvanizing tempos, yet he also projected its solemnity. It was spellbinding from the first note to the last, and the crowd roared its approval.

The May Festival ended with the entire house singing the "Hallelujah Chorus."


Saturday, May 26, 2007

May Festival Weekend II


The Festival continued Friday night with a unique experiment that paid off. At least 2,500 folks were not at Taste of Cincinnati -- they were listening to Berlioz' "L'enfance du Christ." If you were there, what did you think of the projections?

Here's the review:

"The time is ripe to do something experimental," said conductor James Conlon, as he introduced the May Festival’s first-ever multimedia performance Friday night in Music Hall.

A large screen hung over the May Festival Chorus, the house lights dimmed and the chorus, Cincinnati Symphony Orchestra and four soloists began Berlioz's extraordinary oratorio, "L'enfance du Christ" (The childhood of Christ), its first performance at the festival.

I doubt that anyone in the audience of 2,500 was prepared for what a breathtaking experience it would be.

Berlioz called his oratorio a sacred trilogy. Its three parts depict Herod's dream and his decree that all children under 2 be killed; the holy family’s flight into Egypt; and how they found refuge with an Ishmaelite carpenter.

Musically, it was a stunning journey. But it was further enhanced by the pictorial accompaniment – paintings assembled by Cincinnati Art Museum, projected overhead – that worked seamlessly to underscore the story and illuminate the music.

Berlioz is most known for his extroverted showpiece "Symphonie fantastique." His oratorio, by contrast, is deeply spiritual, meditative and even mystical. The orchestral canvas was wonderfully evocative, and the orchestra performed it beautifully. (One of the highlights was a charming pastorale for flutes and harp.) Conlon led with a combination of lightness and depth, and brought out the delicate and inventive detail of this score.

If there was a single most sublime moment, it was the famous "Shepherds' Farewell," sung by the May Festival Chorus with a hushed, radiant quality. The chorus, prepared by Robert Porco, articulated the French text confidently and added dramatic touches as Soothsayers and Ishmaelites. The Chorus of Angels, sung by women of the chorus offstage, had pristine beauty.

The story unfolded through four excellent soloists. Bass-baritone David Pittsinger projected the anguish and reluctance of King Herod in his air, "O misere des rois!"
Mezzo-soprano Michele Losier made a youthful Mary, conveying fear and purity. Her duet with baritone William McGraw (Joseph) was a glowing pastoral scene, as they looked upon the Christ child with images projected above.

As narrator, tenor John Aler seems born to sing this music. His gentle delivery and communicative gifts were ideal for the serene setting. The final chorus, sung a cappella in shades of softness with the tenor, made an exquisite conclusion.

The May Festival concludes today in Music Hall. 513-381-3300.


Friday, May 25, 2007

Young talent in concert



The Cincinnati Symphony Youth Orchestra puts on its annual Memorial Day concert, 3 p.m. Monday at Seasongood Pavilion, Eden Park. Conductors Eric Dudley (shown) and Yorgos Kouritas (a CCM conducting assistant) will lead the program. Of interest is Charles Coleman and friends' "Variations on a Theme by Coleman," with variations composed by the kids. There will also be Gershwin, Copland and Tchaikovsky's 1812 Overture.

The concert is free. 513-744-3333 or visit www.cincinnatisymphony.org.

Next Sunday, June 3, a young baritone from Florence reaches for the stars in a recital at the Madeira church that is helping him attain operatic stardom.

Steve Shafer, 22-year-old junior at Northern Kentucky University, will perform solos from operas, including Rossini's "Barber of Seville" and Wagner's "Tannhauser," at St. Paul United Methodist Church of Madeira, 8221 Miami Road. The concert is at 3 p.m.

Shafer, who sang the role of Papageno in NKU's recent production of "The Magic Flute," is aiming for an international career on the opera sage. He will be joined in duets with Eric DeForest, the assistant professor who heads NKU's opera program, and Lauren Bailey, a soprano who graduated last year.

The concert is free, but an offering will be accepted to help underwrite Shafer's performance at this summer's tenth anniversary Lyrique-en-Mer opera festival on Belle Isle, off the coast of France. The festival attracted about 5,000 opera lovers last summer to hear seasoned performers and young future stars from five countries.

Shafer, who sang at the six-week festival last year, expects to sing roles in Verdi's "La Traviata" and Offenbach’s "Tales of Hoffman."

The Madeira church program provides outstanding NKU vocal students with a church home and financial assistance while they continue their musical education. The June 3 concert is part of the St. Paul Presents series, hosted by Music Director Patrick Coyle.


Thursday, May 24, 2007

Here's the pitch


First the Met brought live performances to movie theaters around the world. Now -- here's a cool thought -- what if Cincinnati Opera had a live simulcast in Great American Ball Park of an opera playing in Music Hall?

That's what San Francisco Opera and the SF Giants are doing in the City by the Bay this September, with a production of Saint-Saens' epic opera "Samson and Delilah."

The show, starring Russian mezzo Olga Borodina and tenor Clifton Forbis (and incidentally, directed by former Cincinnatian Sandra Bernhard) will be transmitted through state-of-the-art techno wizardry direct from the War Memorial Opera House to AT&T Park.

Baseball -- and opera -- fans can attend for free, with seating on the field and in the stands. (All that's required is a ticket to enter the ballpark.)

So where will they show the opera? On the stadium's Mitsubishi Electric Diamond Vision scoreboard.

Free live simulcasts are among the innovations of David Gockley, the new opera general director. The company will have a free live simulcast of Mozart's "Don Giovanni" on June 22 in three venues -- Cal Berkeley, UC Davis and Wells Fargo Center for the Arts in Santa Rosa.

Think people will come? In October, a simulcast of "Rigoletto" drew 14,000 to Civic Center Plaza in SF and Frost Amphitheatre at Stanford.

Sounds like a home run to me!


Blue Wisp Big Band CD Release Party


The Blue Wisp Big Band is releasing its seventh album in a kick-off party, 8:30 p.m. Wednesday at the Blue Wisp Jazz Club, 318 East Eighth Street, downtown. The new disc, entitled "Tribute," is a tribute album to Marjean Wisby, who operated the club for more than 30 years. Wisby died last August at age 62.

The Big Band is a Cincinnati treasure that plays every Wednesday night as it has for the past 27 years. The band is made up of some of the finest jazz players in the region. Thirteen of its original 16 musicians are still regulars.

The party will include hors d'oeuvres and the band will perform 8:30 p.m. to 11 p.m. For info about the band, or to see the Blue Wisp's monthly calendar, visit www.bluewisp.net.


Wednesday, May 23, 2007

Reaction to the Dean's announcement

On Monday evening, after Doug Lowry announced that morning that he's leaving to become dean of the Eastman School of Music, I decided to go to the "Acclaims" party to get some reaction.

Many folks are still reeling from the news that Sandy Bernhard (opera) and Nick Mangano (acting) are leaving, too. Apparently, the faculty found out about the dean in their e-mail inboxes Monday morning, same time as the press. This is the last week of school, so basically, he gave UC two months notice.

"It took everyone by surprise, but it's a remarkably strong institution. We'll persevere," said Terrell Finney, head of the division of drama, opera, musical theater, et al. "CCM is an important school and expectations will be high among the faculty. That's why we need to start (a search) sooner rather than later."

There are lots of questions and not many answers. Who will replace him? For CCM to remain a world-class institution, a dean with vision and a clear record of excellence is deperately needed.

Already, several faculty have mentioned the appointment of Roberto Diaz at Curtis. Diaz is a symphony violist, and -- unlike many administrators -- he is passionate about music, about students and about leading a major institution into the future.

If one judges by the length of time (one year) it took Eastman to appointment a new dean (James Undercofler is now president and CEO of the Philadelphia Orchestra) it could take CCM as long or longer.

Some movers and shakers were comparing the news to the Art Museum's loss of Timothy Rub. "(Lowry) was a huge asset to our community and it's a great loss," said arts patron Melody Sawyer Richardson. "The positive is that he's going from CCM to Eastman."

"We'll have to go to the ends of the earth!" declared Mr. Vice Mayor Jim Tarbell.

Meanwhile, UC is poised to begin what some say will be a $1 billion capital campaign. Hopefully, this news won't derail CCM's hopes and needs for the campaign.

Some faculty members think that the financial crisis at UC figured in his flight, although the dean told me that finances had nothing to do with his decision. Still, it's been difficult for the school to weather a huge deficit, and everyone has had cuts to programs.

Others remember that Lowry was a finalist for similar posts at USC shortly after he arrived, followed by Southern Methodist University in Dallas and Yale (although he pulled out of that last search early).

Who will be interim while a search is conducted? It's likely that the hard-working Warren George (wasn't he supposed to retire??) will step in and run the school in his usual competent style, as he has done before.

What direction is CCM headed? I haven't seen any sign of a clear direction in a while. When I came here after earning my bachelor's in music from Stanford University in the '70s, CCM was outstanding in so many areas. It still is -- despite cuts such as the ensemble-in-residence. But today, there is no more scholarship money for undergraduates than when I arrived. And we all know how much tuition has risen.

Now with this fabulous facility (the legacy of dean Robert J. Werner) -- how will CCM be able to fill its halls with the best students and faculty? How will CCM remain among the best conservatories in the nation?

One thing is certain, the faculty say it's imperative that the administration and faculty work closely on this.

"It's got to be a joint effort. It's too important," says Eugene Pridonoff, professor of piano.


Monday, May 21, 2007

CCM dean Douglas Lowry resigns


Wow, coming off a big weekend at the May Festival, this news greeted me this morning. CCM, currently in a search for a new head of the opera department, is now going to be hunting for a new dean, too.

What do you make of all this?


Verdi's "Il Trovatore" Wows at the May Festival



In case you missed the review in today's Enquirer of "Il Trovatore" with Sondra Radvanovsky, pictured, click here.

And, the review is in for the Cathedral Basilica concert, too.


Sunday, May 20, 2007

May Festival opens with "The Seasons"

Because of the late end to Friday's concert, this review may not have made your edition (Note: I'm having trouble this weekend posting to blogger, so sorry for the delay):

"Come, gracious Spring, gift of Heaven, come."

That chorus from Haydn's "The Seasons" was a fitting opening to the 86th May Festival Friday night in Music Hall. With James Conlon on the podium, all of the festival traditions were in place, from May pole dancers to flower girls. Although it was a lengthy evening, the rewards of hearing Haydn’s last oratorio were many – among them, a superb trio of soloists.

Not as well-known as "The Creation," "The Seasons" has had just six other outings in the past century at the May Festival. Its four parts (one for each season) are vivid musical depictions, including a storm and a hunting scene. Although Haydn complained about the libretto – inspired by a poem of James Thomson – it offered him ample opportunity for sometimes humorous text painting, such as croaking frogs and a wonderful "Hound Dog Aria."

Rustic in character, the oratorio unfolded through three characters: Simon, a farmer (baritone Brian Mulligan); his daughter Hanne (soprano Ellie Dehn) and her suitor, Lukas (tenor John Aler). Together, the soloists formed an ideally balanced ensemble.

In her festival debut, Dehn, who is still in her twenties, performed magnificently, projecting a sparkling, light-as-honey voice. She brought freshness of character and radiant expression to her arias.

One of the standouts was her love duet with Aler. The tenor, a longtime festival favorite, delivered his usual stylish performance all evening, navigating the runs and leaps of his "Wanderer" aria with agility.

Mulligan, also making his debut, was another vocal discovery, possessing a marvelously firm baritone and superb diction. One of his many fine moments was the "Hound Dog Aria."

With the May Festival Chorus arrayed behind a reduced Cincinnati Symphony Orchestra, Conlon took a genial view – perhaps a bit too much so in the first half. "Summer," in particular, lacked life and atmosphere. After intermission, things enlivened noticeably.

The chorus shone in its hymns of praise (and drinking choruses, too) gaining energy and precision as the evening progressed. The "Hunting Chorus," with its horn obbligato, was one of the evening's treats, and the final choral fugue was energized and cleanly articulated.

The orchestra performed well and provided colorful touches wonderfully. Conlon was superb at capturing details, such as misty opening to "Summer" and the bleakness of "Winter."

The performance was also the inauguration of new surtitles projecting text translations above the stage.

The May Festival presents Verdi’s "Il Trovatore," 8 p.m. today in Music Hall. 513-381-3300 or www.mayfestival.com.

If you were there, how did you like the surtitles?


Wednesday, May 16, 2007

What's in my CD player


I've been getting in the mood for the May Festival's concert staging of Verdi's "Il Trovatore" this Saturday with an excellent live recording made at La Scala in 2000. The tenor is Salvatore Licitra, and there's a bit of controversy because he doesn't sing the high "C" at the end of "Di quella pira" in Act 3. (It's only tradition that dictates the high "C," not the composer.) This is a glorious recording. Soprano Barbara Frittoli as Leonore is stunning and both performers gain intensity and vocal color as the opera progresses.

Can't wait to hear Sondra Radvanovsky sing this role (Leonore) here, and for the great "Anvil Chorus," too. Watch Friday's paper for an interview with Radvanovsky.

Do you have a favorite "Trovatore" recording?


Tuesday, May 15, 2007

Who's in charge?


No sooner has Nick Mangano, professor of acting, been appointed interim chair of the opera department at UC's College-Conservatory of Music -- than he's accepted a position elsewhere. Mangano is taking a post at SUNY Stony Brook, CCM confirms.

The next interim has not been named, says spokesperson Katie Rankin.

You'll remember, he was to fill in for the departing Sandra Bernhard next academic year. Bernhard is leaving this summer (after Lucca) to start a new job with Houston Grand Opera. She succeeded Malcolm Fraser in 2003 in the J. Ralph Corbett Distinguished Chair in Opera.


Monday, May 14, 2007

Diversity in the Arts

Today's Enquirer tackles a big, multi-faceted problem -- the lack of minority participation in Cincinnati's largest classical music institutions.

What do you think can be done to encourage more minority participation in classical music?


Friday, May 11, 2007

Breaking News: I was sucker-punched

One of the perpetrators in the melee at the Boston Pops speaks out to Boston's 7News about how it all started.


Cool new prospects for Riverbend


Did you see the story yesterday about the new, smaller (4,100-seat) pavilion going into Riverbend Music Center that the symphony is building? If you could not open the virtual tour, here's a link to the video on the symphony's Web site.

I had a little chat with Mike Smith, the guru of Riverbend who brings all the big acts to you, and he said, don't get the impression that Riverbend isn't already selling out.

"This year's ticket sales are already 5 to 9 percent ahead of last year, depending on the attraction," Mike says. "Jimmy Buffett, Dave Matthews Band, Poison, Def Leppard will continue to sell out."

What the new venue will bring, he says, is more niche programming for folks who want bluegrass, country, alternative country, hip hop... The tour industry is changing, with people like Bob Dylan and John Fogarty playing smaller venues.

Diana Krall, hey how about Michael Feinstein? I'd love to see him play out there.

Who do you want to see?


Boston Pops Brawl


Speaking of symphony etiquette (below), just when you thought it was safe to tap someone on the shoulder and say "Shh!" -- you get decked.

That's what happened at the opening concert of the Boston Pops with Keith Lockhart. In case you missed the video, here's the story with a link to the video. (It seems TV cameras were there for opening night.)

Amid all the ruckus, Keith, who had been leading a medley from "Gigi," just stopped and stared. Maybe he thought they were going to say, "This show has been crashed!"


Wednesday, May 09, 2007

Snoring at the Symphony


Dear Miss Manners,

My husband and I attend the symphony Friday night -- it's only our second year here in Cincinnati -- and it was wonderful, mostly. I say mostly because seated nearby was an older gentleman who attended the concert by himself. The seats on either side of him were empty. After Deep Woods, he fell asleep! He had was breathing heavily for a while, but during some of the piano solos, he snored -- loudly. Clearly this bothered everyone around, and in particular the woman in front of him, who was visibly agitated. When it became clear that nothing was going to wake him, I reached across the empty chair and touched his arm. He seemed confused, but woke up. It was clear that he was disturbing a lot of people, and I thought, if it were me, I would hope someone would have woken me up. Is there some sort of actual symphony-etiquitte for dealing with this?? (He stayed awake through the Pastoral, thank goodness).

Catherine

Dear Catherine,

Generally, if the offender is a close relative, it's acceptable to give him (or her) a strong jab in the ribs. Given that you did not know the gentleman, I think that lightly touching his arm was appropriate. If it were me, I would absolutely want to know I was disturbing people around me. There's nothing that ruins a heavenly pianissimo more than a big snort.

Miss Manners asks, what do you think?


Monday, May 07, 2007

Ruth Ann's comeback concert



Read the Review of Ruth Ann Swenson's recital in Dayton's gorgeous Schuster Center. I can tell you, there were a few Cincinnati Opera board members there who were drooling over this beautiful new venue, home of Dayton Opera (overseen by former Cincinnatian Tom Bankston) and the venerable Dayton Philharmonic.

As a concert venue, the superb acoustics and elegant surroundings of the Schuster Center should be a source of great civic pride.

The recital concluded the Dayton Opera season. General and artistic director Thomas Bankston announced next season: Mozart's "Don Giovanni," Rossini's "The Barber of Seville" and the company’s first "Macbeth" by Verdi. The gala artist will be the phenomenal Angela Brown, who will perform arias and African-American spirituals with the Wilberforce University Choir. Information: 937-228-3630, www.daytonopera.org.


Friday, May 04, 2007

Best bets this weekend




This list is massive!

Don't miss: The CSO concert this weekend, season finale. (See below).

Ruth Ann in Dayton: Metropolitan Opera star Ruth Ann Swenson makes her Dayton debut in a rare recital of art songs and arias from some of her signature opera roles, 8 p.m. today and 3 p.m. Sunday, at the Benjamin & Marian Schuster Performing Arts Center, Dayton. The diva has just starred as Cleopatra in Handel's "Giulio Cesare" at the Met, and will open Cincinnati Opera’s season next month as Marguerite in "Faust." The noted pianist Warren Jones, "accompanist to the stars," is her partner in music by Rossini, Bellini, Verdi, Puccini, Handel, Gounod and more. Tickets from $15; 937-228-3630, www.ticketcenterstage.com and www.daytonopera.com.

Anonymous 4 in Lebanon: "Voices of Light: The Passion of Joan of Arc," Anonymous 4; the Lebanon Symphony Orchestra and Chorus, David Donovan, conductor, 8 p.m. SaturdayUrbancrest Baptist Church, 2634 Drake Rd., Lebanon
Tickets: $20; $25 at the door. Students $10; $15 at the door. 513-228-0346, www.musicinlebanon.com.
Today: Round Table with composer Richard Einhorn and Paul Clark, Enquirer A&E editor, 7:30 p.m. Copperfield’s Coffee Café, 3 South Broadway, Lebanon. ($20)

Cincinnati Camerata on Sunday: The Camerata has a concert and celebration that includes Sharon Farber's "The Third Mother," winner of the 2007 compostition contest. Farber, originally from Israel, has dedicated her piece to Judea and Ruth Pearl, whose son Daniel was the American journalist kidnapped and beheaded in Pakistan in 2002. The Hebrew text is by Nathan Alterman. Concert, dancing and wine tasting, all for just $12 suggested donation! 4 p.m., Oak Ridge Lodge, Mount Airy Forest. Info: 859-491-2362.

MUSE Cincinnati Women's Choir presents Wake Up!, a concert for the Earth, led by artistic director Catherine Roma, 8 p.m. tonight and Saturday, New Thought Unity Center, 1401 East McMillan Street. The concert will feature arrangements by Jennifer Stasack, Joan Szymko and Ysaye Maria Barnwell, among others. Come out and celebrate music by women, sung by women! The event also has an earth fair starting at 6:30 p.m. Tickets: $20 in advance; slideing sclae... $25 at the door. www.musechoir.org.

Xavier Piano Series: Norman Krieger performs music by Alban Berg, Mozart, Beethoven, Rachmaninoff and Chopin, 2:30 p.m. Sunday, Gallagher Student Center Theatre, XU. Tickets: 513-745-3161.

The Linton Series: It's Opus One, with pianist Anne-Marie McDermott, violinist Ida Kavafian, violist Steven Tenenbom, and cellist Peter Wiley, 4 p.m. Sunday First Unitarian Church, Avondale, and 7:30 p.m. Monday, Congregation Ohav Shalom, Montgomery. They'll play Beethoven's Quartet in E-flat, Schumann's Quartet in E-flat and more. Tickets: 513-381-6868, www.lintonmusic.org.


A concert to remember



Paavo Jarvi reacts to the standing ovation at the announcement that he staying at least until 2011. The other photo is composer Charles Coleman accepting ovations for his piece, "Deep Woods." Thanks to Jeff Swinger for these photos.

Here's a message from Laura Lawson about last night:

"My 8 1/2-year-old daughter and I were two of the 1,700 at last night's concert. We were coming for the Pastoral Symphony, because it's one of her favorite classical pieces. However, she also really enjoyed "Deep Woods," and whispered to me during the piece, "It sounds like Bambi when the forest caught on fire." I'm going to have to get out that DVD again soon and listen more closely! We can't wait to hear it again on WGUC."

Thanks for writing, Laura!

And here's the Review.


Wednesday, May 02, 2007

Paavo Jarvi's "evergreen" contract


The CSO announced today that they and Paavo Jarvi have agreed to extend the music director's contract through the 2010-11 season, and after that, it becomes "evergreen" -- automatically renewing each season as long as the parties agree.

What do you think of today's news?


Indian ragas: The Sound of Seasons



There's a unique collaboration this Sunday, between the Greater Cincinnati Indian Children's choir, Cincinnati Children's Choir, Shanti Choir and the Cincinnati Chamber Orchestra in "the Sounds of Seasons - a Musical Celebration of Time," by local composer Kanniks Kannikeswaran. Kanniks is an engineer by education, who teaches Indian music at CCM.

His latest work he calls "a choral symphonic expression of Indian ragas, a musical score that cuts across cultures, integrating choral and orchestral harmony with the ancient raga tradtiions of India." The score will present the imagery in the changing of the seasons.

(Concert times: 4 p.m. and 6:30 p.m. Sunday, Sycamore High School, 7400 Cornell Rod.) 513-686-1770.)

I asked Kanniks to tell me a bit about this piece, as well as last year's "Shanti -- A Journey of Peace," that brought together 150 singers who performed for a packed Aronoff Center. Here's what he said:

Philosophy: We have been exploring ragas in a choral context as a small group since 2001 ever since we moved into Mason. ... Shanti was conceived with raga based music, choral and orchestral harmony, classical and folk dances and multi-media.

The celebration of the joy of singing together, the celebration of enjoying the orchestral harmony in very Indian melodies; there was a sense of total inclusiveness, community around music.

For instance, in Cincinnati our senior most singer is an octogenarian. We also had young children sing the final piece 'Peace and Joy for ever'. It was sheer joy to watch children playing tag in the hallways singing tunes from the Shanti repertoire as their parents rehearsed!Shanti was a celebration of the state of Universal peace and this theme resonated powerfully with all participants and with the diverse audience.

Why does "world music" seem to be booming?

I am very honored that the mainstream Cincinnati Chamber Orchestra is playing The Sound of Seasons. There is more willingness on the part of people to explore new options, to feel out new sounds. Also, world music itself is evolving into forms that are more accessible to a wider range of people. Globalization is bringing people closer - and the willingness of people to try out something new is also growing.

What do you hope to achieve in your concert this weekend?

First, from the standpoint of the children's workshops that led to this, I would like to recall something from my childhood. I learned the ragas related to rain when I was 10 years of age - and I still remember the wet roads and the smell of the rain. When I smell the rain today, I think of the day that I was introduced to this raga. If the kids that sing this raga on stage can have such memories 35 years later, it would be phenomenal.



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