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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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Friday, November 30, 2007

Piano spectacle and a mellow "New World"


Here's the review:

Only two pianists in North America have the flashy Khachaturian Piano Concerto in their tour repertory, and one of them is Terrence Wilson.

On Friday, Wilson was the soloist with the Cincinnati Symphony Orchestra in the blockbuster showpiece, part of a well-matched program that included Dvorak's Symphony No. 9 led by guest conductor Hans Graf. Although it's rarely tackled, the Bronx-born pianist played the concerto here before, in 1995.

Khachaturian's 1936 Concerto can only be described as epic, with movie score-like expansiveness in the orchestra, and feats for the pianist that recall Liszt and Prokofiev. Its folk-like themes have instant appeal. Among its curiosities is the metallic, warbly sound of the flexatone in the slow movement. (However, the CSO's Michael Chertock was playing a synthesizer.)

Wilson, 32, winner of the Avery Fisher Career Grant, put his prodigious technique to work, balancing keyboard-spanning runs, leaps and massive chords with moments of quiet introspection. A thoughtful pianist, he displayed a singing tone and an ear for color in the work’s many cadenzas – lengthy solos that began softly and soon became heaven-storming.

The finale was almost jazzy, and the pianist projected its joy while effortlessly tossing off endless virtuosities. On the podium, Graf led the orchestra well, though orchestra and pianist sometimes strayed apart.

Graf, music director of the Houston Symphony and a native of Austria, was also making a return visit. He opened with three engaging, folkloric tone poems by Anatoly Liadov. They were vivid and glowing, and "Baba Yaga" (depicting the Russian witch) had humorous touches.

Dvorak's Symphony No. 9, "From the New World," filled the second half. Dvorak wrote his Ninth Symphony while living in America, where he was inspired by spirituals and Native American themes. In reality, the "New World" Symphony is firmly rooted in the Old World, and Graf's view reflected that.

Graf is an expressive leader, who communicated warmth and nostalgia. Tempos were relaxed (the scherzo was a bit too slow) and the orchestra was not as immaculate as usual. But no matter how often you hear the slow movement's famous English horn theme, it is always breathtaking, and Christopher Philpotts' performance was no exception.

The concert repeats at 8 p.m. in Music Hall. 513-381-3300.


Thursday, November 29, 2007

Amernet, Azmari quartets alert



Don't get tongue-tied, but here are two concerts chamber music lovers won't want to miss next week:

On Tuesday – The Amernet String Quartet returns to Cincinnati for a debut concert with Chamber Music Cincinnati, 8 p.m. Tuesday in UC's Corbett Auditorium. Soprano Audrey Luna, faculty member at Miami University, performs Schoenberg's Quartet No. 2 with the Amernet. They’ll also perform quartets by Haydn and Beethoven. Tickets: $25;$10 students; CCM students and students under 18 are free. 859-581-6877, www.cincychamber.org.

Friday, Dec. 7 – The Azmari Quartet, Corbett String Quartet-in-Residence at Northern Kentucky University, performs Shostakovich's Quartet No. 9 and Schubert's "Death and the Maiden," 8 p.m. Dec. 7 in Greaves Concert Hall. Tickets: $10, 859-572-5464, wwwtheazmariquartet.com.


Wednesday, November 28, 2007

A gala night in the jungle







Everybody knows that Cincinnati Opera knows how to throw a party. But 550 revelers at "Una noche magica" were dazzled like never before by the rainforest spectacle that met them in Music Hall's Ballroom at the opera gala earlier this month. The Ballroom's west wall had a two-story waterfall that reminded me of Iguacu Falls in Brazil (it was projected) and patrons sipped cocktails while an aerialist dangled overhead. (Apparently the ever-savvy opera company has been visiting Cirque du Soleil in Las Vegas for ideas, I kid you not.)

Tenor Mark Panuccio (pictured), who is surely "America's next great tenor," delivered a knock-out performance of opera arias and duets, including what is fast becoming his signature aria, "Nessun dorma." His soprano was Edlyn de Oliveria, who will star in this summer's company premiere of "Florencia en el Amazonas" by Daniel Catan.

Incidentally, the composer was there, too (pictured in yellow tie), with a few words about his upcoming opera for the audience. Catan is now at work on "Il Postino," an opera based on the 1994 movie about a young postman who delivers mail to the famous Chilean poet Pablo Neruda. Catan revealed that he is writing the role of Neruda for Placido Domingo, to be premiered in the fall of 2009 by LA Opera. (It's on my calendar!)

To conclude the first part of the gala affair, Terra Azul played wonderful sambas. Then, as the divinely-gowned and tuxedoed guests and their Dior party bags lined up for their cars, 250 of the young-and-hip set arrived for the after-party, to dance the night away into the wee hours.

What they raised: $250,000

Power couples: Opera board president Cathy Crain and board chairman Harry Fath (left); Dr. Jack and Barbara Hahn (right)

What they wore: Pictured above with Patrick Korb, Melanie Chavez, a co-chair, was in midnight blue satin by Collette Dinnigan, with necklace by Debra Moreland for Paris and a Judith Leiber clutch; and co-chair Jeannine Winkelmann was in yellow Oscar de la Renta, featuring hand-embroidered flowers. Vintage Chanel shoes completed her look.

Photos: by Philip Groshong, courtesy of Cincinnati Opera


Tuesday, November 27, 2007

Final Four -- CCM opera chair search



A search committee at the University of Cincinnati has winnowed four finalists from 20 international applicants in the search for a new chair of the opera department at UC's College-Conservatory of Music.

Two of the candidates for the J. Ralph Corbett Distinguished Chair in Opera have CCM ties.

The finalists announced Tuesday are: Steven Daigle, who heads the opera program and is dramatic director of Eastman Opera Theatre at the Eastman School of Music (Rochester, N.Y.); Jonathan Eaton, artistic director of Opera Theater of Pittsburgh and a former CCM faculty member; Nicholas Muni, distinguished artist-in-residence at CCM and former artistic director of Cincinnati Opera; and Robert Tannenbaum, director of production of the Badisches Staatsheater in Karlsruhe, Germany.

"To get us down to the final four was a bit challenging," says Terrell Finney, chair of the search committee and division head for opera, musical theater, drama and arts administration at CCM. "We were very pleased with the overall quality of the applicant pool."

The next step, Finney says, is for each candidate to conduct master classes, direct some scenes and meet with faculty members and interim dean Warren George.

Former opera department chair Sandra Bernhard has taken a post at Houston Grand Opera.

Photos: Jon Eaton, left; Nic Muni, right (photo by Alan Brown)


Monday, November 26, 2007

Pops "Nutcracker" on Billboard charts



Erich Kunzel and the Cincinnati Pops' new Nutcracker album for Telarc made its debut over Thanksgiving on the Billboard classical chart at No. 11.

Another new arrival, also on Telarc, is "Christmas Break," a relaxing compilation of carols and other selections -- including two cuts by local pianist Michael Chertock.


Library Lions


May Festival music director James Conlon is pictured with 14 other luminaries in the December issue of Vanity Fair. The occasion is the 10th anniversary of the Library Lions, New York Public Library’s celebration honoring remarkable cultural figures in the arts and science.

Others sharing the spotlight with Conlon, a native of New York, include author Elie Wiesel, film director Martin Scorsese and musician Billy Taylor. Past Lions have included Oprah Winfrey and soprano Renee Fleming.


Wednesday, November 21, 2007

Kunzel photo gallery from the White House





Here are photos taken by former Cincinnatian Peter Throm last week, when President George W. Bush presented Cincinnati Pops conductor Erich Kunzel with the 2006 National Medal of Arts in an East Room ceremony at the White House.
He's shown here with his wife, Brunhilde.


The Met -- Coming to a theater near you!



Local opera fans will no longer have to take a road trip to see the Metropolitan Opera's high definition broadcasts in movie theaters.

The Met's new initiative -- beaming live opera into movie theaters around the world, which began last year -- is coming to a movie theater near you. The Deerfield Towne Center movie theater in Mason and the Springdale Showcase Cinemas will present eight opera performances, Dec. 15 to April 26.

The series will open at 1 p.m. Dec. 15 with Gounod's "Romeo et Juliette," starring Anna Netrebko and Roberto Alagna and conducted by Placido Domingo.

A family-friendly New Year's Day performance(1 p.m.) is planned of "Hansel and Gretel," in a new English-language production by Richard Jones.

Metropolitan Opera music director and Cincinnati native James Levine will conduct three of the operas in the series: Verdi's "Macbeth," starring Maria Guleghina (Jan. 12); Puccini's "Manon Lescaut" starring Karita Mattila (Feb. 16); and Wagner's "Tristan und Isolde," starring Deborah Voigt and Ben Heppner (March 22).

The worldwide audience is expected to reach a million for the entire series. Because of the HD series' popularity, it's suggested that you purchase tickets early.
Tickets: $22 adults; $20 seniors; $15 children. 1-800-638-6737; get the whole schedule, see a trailer, read about the cast and production and purchase tickets at www.metopera.org.

Photos:
Alice Coote as Hansel and Christine Schafer as Gretel, Nick Heavican and Anne Deniau, Metropolitan opera
Anna Netrebko surrounded in a colorful scene from Romeo et Juliette, Ken Howard\Metropolitan Opera


Tuesday, November 20, 2007

Acoustical nightmare in Miami

Take a look at this article from the Miami Herald about a disastrous evening in Miami's new Carnival Center with the Bergen Philharmonic, Andrew Litton and pianist Andre Watts. Apparently, the stage hands didn't know how to "adjust" the adjustable acoustics.

This is the trend in new concert halls -- to able to adjust the sound in various ways, such as with draperies or doors fronting resonating chambers, according to what type of group is playing in the hall.

Andrew Litton told MusicalAmerica.com that he was hearing the piano twice (apparently like an echo) and could see the winds playing, but couldn't hear them. Plus, the orchestra members could not hear each other.

Litton says he is sending the same letter to Artec, and "urging them never to turn over one of their magnificent halls to any venue not fully trained to manage it."

The acoustician, Artec, has yet to respond.

Artec, you recall, designed Music Hall's newest acoustical shell.


Friday, November 16, 2007

And, a few words from another medalist

Last Sunday, I visited a MacDowell Society ceremony at CCM to see Paavo Jarvi receive the 2007 MacDowell Medal. In a discussion with Mary Ellyn Hutton, critic for the Post who is writing a book about the Jarvi family, Jarvi spoke about his upbringing in Estonia and a bit about how he became a conductor.

He was, of course, following in his father's footsteps. "It's an old-world tradition. It's always Steinway and Sons," he said. Conducting, he said, is "a strange thing -- it's kind of a charlaton art."

After the family emigrated to the United States when he was 17, he recalled taking the train each weekend from New Jersey to an orthodox Jewish neighborhood in New York, where he studied with conductor Leonid Grin. He followed Grin to Houston for more study. It was Grin who brought Paavo to the Los Angeles Philharmonic Institute, where he met Leonard Bernstein.

After a falling out with Tanglewood, Bernstein had created a West Coast equivalent of Tanglewood. "That experience literally changed everything. I was 19. I knew everything, and somebody showed me that I didn't know everything. It was just the realization that there are no shortcuts to knowledge," Jarvi said.

On being of Estonian birth, he said, "I have deliberately become an American. One of the great things about this country, is that it takes people in and allows them to retain their culture and flair of their culture. I'm an American citizen, I pay taxes, and my children are born here. My relationship with Estonia is almost like a religion -- these things never conflict. ... It is a privilege to be in a country that has taken us in when we had nowhere to go."

MacDowell president Janet Light (former dance critic of the Cincinnati Enquirer) presented the medal, saying, "You have brought a new pulse, energy and artistic vision that enhances the life of this community."


Kunzel picks up his medal


President George W. Bush presented Cincinnati Pops conductor Erich Kunzel with the 2006 National Medal of Arts yesterday in an East Room ceremony at the White House.

Maestro Kunzel, you will remember, was in Shenzhen, China last year when the 2006 medalist's ceremony was held, conducting the Shenzhen Philharmonic.

He received his 2006 medal alongside the 2007 National Medal of Arts recipients in a ceremony that included Mrs. Laura Bush. Kunzel's medal, the nation's highest honor for artistic excellence, was "for his innovative achievements as a conductor. His remarkable Pops performances of classical and popular music have expanded the appeal of both and brought great music to millions," said the National Endowment for the Arts in a statement.

This year's recipients were composer Morten Lauridsen; painter Andrew Wyeth; guitar legend Les Paul; author N. Scott Momaday; arts patrons Roy R. Neuberger and Henry Steinway; Old Globe Theatre director R. Craig Noel; painter George Tooker; and the University of Idaho Lionel Hampton International Jazz Festival.

The award was established by Congress in 1984.

Photo by Michael Stewart for the National Endowment for the Arts


Thursday, November 15, 2007

The CSO's Mahler universe


Here's tonight's symphony review. Look for an interview with Ingrid Fliter in Friday's Weekend section.

Gustav Mahler's Symphony No. 7 is his most misunderstood work, and a test of both orchestra and audience. On Thursday, after an absence of nearly two decades, Paavo Järvi and the Cincinnati Symphony Orchestra revisited this most enigmatic, quirky and ultimately, spectacular of symphonies.

Mahler's Seventh, calling for massive forces, formed the evening's second half. Mozart's Piano Concerto No. 23 in A Major opened the program, in a sparkling reading by Ingrid Fliter.

Mahler's symphonies all have underlying psychological meaning, and the Seventh seems to lay bare all of the composer's neuroses. Like his other symphonies, each of its five movements displays a universe of emotion in an endless quest for meaning.

Järvi and the orchestra plunged energetically into the first movement, distinctive for its haunting sound of the euphonium (Peter Norton) and its rapid mood swings. Technically, its disparate threads didn't come together until midway, when frenzied passages dissolved into an atmospheric section of distant fanfares.

Järvi's pacing was masterful and expression was red-blooded and full of bite. The contrasts of the three central scherzos were outlined in brilliant colors. "Night Music I," with its superbly-played horn calls, was hair-raising and grotesque; the second scherzo combined mystery and quirky humor.

The most famously "Mahlerian" movement was "Night Music II," a pastoral serenade calling for mandolin and guitar. Winds and strings glowed in this rare moment of serenity.

Despite its challenges, the musicians responded with exceptional playing. The finale was an exuberant display of symphonic glory, as brass and timpani unleashed their full power.

To open, the Argentine pianist Fliter made her CSO debut in Mozart's A Major Concerto. The 34-year-old pianist was relatively unknown in America until about two years ago, when she won the Gilmore Competition, a $300,000 prize awarded to an unsuspecting pianist every four years.

In a time of pianistic showmanship, it was a joy to see Mozart played with such beauty and without a trace of ego. Her touch was limpid, phrasing elegant and her phrases beautifully shaped.

The slow movement was memorable for the pianist's singing tone and poetic phrasing. Its deeply interior quality was a stark contrast to the effervescent finale. The finale's fleet tempo and scampering runs left no doubt that this was composed in the time of "Figaro."

Järvi, always with one eye on the keyboard, was at one with his soloist in this warm collaboration.

The concert repeats at 11 a.m. today and 8 p.m. Saturday in Music Hall. What did you think? Write your own review or rate this concert at cincinnati.com/entertainment.


Tuesday, November 13, 2007

Phil DeGreg's Swan Song?



This weekend could be Phil DeGreg's last performance at the Blue Wisp (at least for a while). The business was sold last week to Ed Felson, bassist and attorney, and three business partners, who bid on it and won.

Today, those of us on the CCM-Wisp listserve got a message from DeGreg, who for 13 years led the house trio, telling us that his relationship with the Blue Wisp is now terminated. Besides playing gorgeous piano, DeGreg was also a dedicated volunteer, who did all the musical bookings, arranged the monthly calendar, sent out press releases (to us) and monthly newsletters (to you), organized special events, and much more. I'm wondering if the Wisp can survive without him.

"For me, my tenure at the Blue Wisp has been a gratifying experience," wrote Phil. He hopes to have a chance to play there again "from time to time."

So, DeGreg and his trio are playing this weekend at the Wisp with a great trombonist, John Fedchock, who was music director for Woody Herman's Orchestra for many years and has made four CDs with his New York Big Band. For more info on him, click here.

After that, the club's bookings look a little sketchy, except that, thankfully, the Blue Wisp Big Band is continuing on Wednesday evenings. Check out the Wisp's new Web site, and do come downtown and support jazz in Cincinnati.

Better than that, come out this weekend and show Phil how much you appreciate what he's done for jazz in our city.

Friday and Saturday, 9 p.m.-1 a.m. $10 cover.


Monday, November 12, 2007

Critic under fire

So, I was checking out Alex Ross' excellent blog, The Rest is Noise, and decided to click on a fellow critic Clark Bustard's blog in Virginia, who mentions that Pulitzer Prize-winning critic Tim Page of the Washington Post has been "disciplined." It seems that DC Ex-Mayor Marion Barry fired off a mass e-mail "blast" to journalists, and Page -- who covers classical music and not politics -- fired one back.

You can read what Page wrote to Barry's PR people in Bruce Johnson's TV news blog, and decide if he deserved to be placed on leave -- or not.


CSO Tchaikovsky disc debuts at 18 on Billboard


Paavo Jarvi's 12th album with the CSO, which includes Tchaikovksy's Symphony No. 6, "Pathetique" and the Romeo and Juliet fantasy, debuted on Billboard this month at No. 18. Stay tuned for a review.


Saturday, November 10, 2007

CSO in top form again

Here's last night's review. All they needed, as the anonymous symphony musician pointed out below, was about 1,000 more of you...


Thursday, November 08, 2007

Create a tagline challenge

Got Milk?

The Cincinnati Symphony is looking for a great tagline -- a succinct slogan with a powerful message.

Reach out and touch someone.

They need something that will endure across seasons -- not like "Going into our shell," their slogan when they got a new acoustical shell a few years ago.

The breakfast of champions.

Something that sums up what the symphony means to Cincinnati -- as important as the Reds and Bengals.

Think outside the bun.

I'm counting on you. Post your taglines here. If the symphony chooses yours, I will personally take you to lunch!

Pardon me, do you have any Grey Poupon?

Click here for the 100 most influential taglines since 1948.


Meet the new Marketing Director

The CSO has hired a new marketing director, Sherri Prentiss, who will be featured in a spotlight in tomorrow's Enquirer. I'm curious to see her ideas for improving the CSO's subscription sales and attendance.

Last week's "Stravinsky Festival" was not well attended on the night that I went.

Personally, I love Stravinsky, but I think the CSO should have made more of the "Eroica" to bring out the crowds. It was the most incredible performance of that symphony I've ever heard.

Everywhere I go, from music clubs and concerts to social events, the question on everybody's lips is: What can be done to improve symphony attendance?


Stravinsky Festival -- Part II


The Cincinnati Symphony Orchestra continues its "Stravinsky Festival" celebrating the 125th birthday of the composer at 8 p.m. today and Saturday in Music Hall. Paavo Järvi leads Haydn's Symphony No. 98 and Stravinsky’s extraordinary "Symphony in Three Movements."

Cellist Eric Kim (pictured here behind Paavo) will take the solo spot in Shostakovich’s Cello Concerto No. 1. On Saturday, the audience is invited to stay after for a free "Bohemian Bash" in the lobby, with jazz by the Faux Frenchman and desserts. Click here for info and to see video notes on the music.


Sandra Rivers makes CSO debut -- in a Lollipop Concert



Pianist Sandra Rivers, CCM faculty member and concert pianist, will make her debut with the CSO this Saturday morning in a Lollipop concert conducted by Eric Dudley. She appears on dueling pianos with Michael Chertock, in Saint-Saens' best-loved "Carnival of the Animals."

Bring your kids, ages 3 to 10 for the music -- and a parade of animals from Cincinnati Zoo onstage in Music Hall. An instrument petting-zoo beings at 9:30 a.m. in Music Hall's lobby, and the concert is at 10:30 a.m. Tickets: $12 adults; $6 children. 513-381-3300, or visit the CSO Web site.

Rivers is pictured with CSO violinist Eric Bates; Michael Chertock at the other piano.


A new CCM Trio


Here's some reader feedback about the CCM story that ran on Sunday.

John Perin, who has had a weekly sports show on WOBO in Clermont County for more than 25 years, writes:

"Thank you for the article - and particularly the sidebar to that article - on the Electronic Media Division's proposed effort to move away from the College Conservatory of Music at the University of Cincinnati.

"I was in the Radio-TV Department (the forerunner of Electronic Media) at CCM in the mid-1960's and saw the total disregard CCM officials had for my area of study and the failure of those who could have done something about it to correct it. In approximately the 1965-66 school year, there were students in my department who openly supported moving to the Arts & Sciences College. I applaud Professor Wolfram for voicing his feelings and for taking actions to move to a more appropriate venue.

"Even now - more than 40 years later - literature from CCM to alumni has little if any mention of the Electronic Media Department. This continues to be a slap in the face to those of us who endured the same inadequate support years ago."

CCM professor emeritus Eiji Hashimoto wrote a beautiful essay extolling the virtues of the program in Lucca, to be elminated in 2009 due to a budget crunch: "As the music director of this program for the initial three years (1996-8), I know that those students who participated had a valuable and unforgettable experience and that their youthful and enthusiastic performances inspired the citizens in this beautiful Tuscan city and generated warm friendship in both directions...."

He also expressed dismay that his position was never filled after he retired six years ago. He taught harpsichord and led the Ensemble for Eighteenth Century Music, but he also taught important classes in how to perform Baroque music in the correct style and using the appropriate ornaments. That link to authentic performance practice is now gone for CCM students.

Also, you'll want to check out this interesting comment from orchestra management guru Drew McManus on his Adaptistration Blog.


Meet the musicians


Hi, sorry for the delay... Blogger was out of commission for a while.

I'm hearing lots of comments about the Percussion story. I'm planning a series of profiles of each section of the orchestra. Which one would you like to read about next?


Saturday, November 03, 2007

Electrifying Eroica -- and acoustics issues

Here's the symphony review.

One thing I noticed last night was the positioning of the orchestra in front of the proscenium for the Beethoven. Moving the orchestra farther out into the hall is something they are considering in the proposed renovation. But last night, I was surprised that I had a hard time hearing the horns, and someone else complained that the brass sound wasn't as prominent. Perhaps it was because there was a big space behind them and all that sound was lost to the back, rather than reflected into the hall.

What did you think?


Friday, November 02, 2007

Talent search -- A new dean for CCM





Read about the search -- and other challenges the school faces -- in Sunday's A&E section of the Enquirer. Be sure to click on "What students, faculty and others say" to read comments from Paavo Jarvi, Sandra Bernhard and many others.

Click here to see who's on the search committee and read the posted ad.

Then tell us what you think.


Paavo on YouTube


Have you seen the Cincinnati Symphony videos that are posted on YouTube? (There are links on the CSO Web site.) They also appear in Music Hall as "First Notes" before the concerts where Paavo is conducting.

What do you think of the arty filming of these? I like that PJ's very informal, but not sure I love the black-and-white when the camera pulls back.

Be sure to go Paavo's Stravinsky Festival, opening tonight in Music Hall.

The orchestra is saluting the composer's 125th birthday this month over two weekends. Today through Sunday, the program includes Stravinsky’s majestic "Symphony of Psalms" with the May Festival Chorus, and Beethoven's Symphony No. 3. Learn more about the music in Classical Conversations, one hour before the concert, with Järvi and assistant conductor Eric Dudley.

Concerts are 8 p.m. today and Saturday; 3 p.m. Sunday in Music Hall. Tickets: $12-$75.25, $10 students; seniors half price; or a $75 Festival Pass for both weeks, including a "Bohemian Bash" with the Faux Frenchmen on Nov. 10. BYW, kids are $5 on Sunday. 513-381-3300, www.cincinnatisymphony.org.


Thursday, November 01, 2007

A gala evening in Chicago


You would have thought it was a gala, with Emanuel Ax performing Brahms' Piano Concerto No. 2 with the Chicago Symphony Orchestra, conducted by the distinguished maestro Bernard Haitink. But it was a weekly concert at the symphony, and it was almost sold out.

Part of what created this "gala" feel was Chicago's beautifully renovated (some years ago) Symphony Center. At intermission, the audience flowed into the beautiful ballroom, where coffee urns and champagne bars were set up, as well as into the attached "Symphony Center." There, one also found bars and amenities, and on the way was a wonderful photo gallery featuring symphony musicians. Intermission seemed longer than the 15 minutes we have in Cincy.

Named principal conductor last year, Haitink was music director of the Concertgebouw for 25 years. His old-world style, musicianship and genuine love for the music was evident in Mozart's Symphony No. 25 in G Minor, K. 183, which opened Saturday's concert. He led without a baton, as if it was vocal music. I was very taken with the phrasing of the first movement, which alternated between intensity in the strings, and the most relaxed, lyrical oboe solo I've ever heard.

The acoustics in Orchestra Hall are somewhat dry, so that the orchestra's playing is extremely exposed. Yet, the precision was extraordinary in the strings, which played like one instrument.

From the other orchestras I've heard recently, and given the Chicago's refined precision, warmth and the acoustics of Orchestra Hall -- the Chicago Symphony may be the finest orchestra in the country right now.

Haitink and his soloist, the pianist Ax (pictured), were stylistically at one in Brahms' Concerto No. 2, with the conductor as elder statesman, leading with clear affection for this music, and Ax performing with stunning sonority, depth and interpretive power. Is there a pianist in this country who can project such nobility, and also commune with the orchestra as if playing chamber music?

Then came the third movement, with its breathtaking cello solo performed by principal cellist John Sharp. The former Cincinnatian (he was principal in Cincinnati before going to Chicago) played with such immense sweetness of tone and warmth of expression, that Ax was grinning from ear to ear the whole time. Ax, the consummate musician, played the accompanist with a combination of lightness and depth, and at the concerto's end, leaped up to drag Sharp to his side for several bows.

Haitink also led the world premiere of "Chicago Remains," by one of the orchestra's composers in residence, Mark-Anthony Turnage. Scored for massive orchestra with a huge percussion section (I counted eight players), the piece is meant to evoke Chicago by juxtaposing the city today with the Chicago fire of 1871. It was attractive and tonal (rather like Copland at times), with some humorous moments (it opens with bouncing bows in the violins). But I found it aimless, a gleaming soundscape of drifting colors that had no direction. How does one evoke a city, after all? The best came last, with a sustained section featuring a quite lovely flute solo played against Asian-tinged harmonies.

Word is, Riccardo Muti is favored to be named the next music director.


Chicago Symphony in black; paid attendance soars


The Chicago Symphony is reporting lots of good news: it surpassed its annual fundraising goal with 4 percent over last year, has increased its ticket sales, exceeding 85 percent paid capacity for the second consecutive season, and balanced its budget.

This is heady news among orchestras, which are mostly reporting ticket sales slumps. But in the Windy City, ticket sales are up, fundraising is up and the endowment is up. The orchestra's endowment is $233 million (about three times our own CSO's) and it's annual operating budget is $58 million.

They report a significant jump in single ticket sales for 2006-07, up 3 percent. About 30 percent of their main orchestra series SOLD OUT or were over 95 percent capacity. (Orchestra Hall seats 2,500.)

Bucking trends here in Cincy, their main series subscription renewal rate was more than 87 percent, the highest in more than a decade.

This while in a search for a music director to succeed Daniel Barenboim.

After reading that -- and because I was already planning to be in Chicago -- I decided to attend a concert last Saturday. Stay tuned for some concert impressions.


Detroit Symphony starting to see results


It has taken 29 years, but the Detroit Symphony, a leader in diversity outreach, is beginning to see results for their massive efforts.

(The situation, of course, is the small percentage of minority musicians and audience members in orchestras, nationwide.)

After announcing the Cincinnati Symphony's new initiative supporting a minority youth ensemble, CSO Nouveau Chamber Players, shown, last week, I contacted Detroit to compare notes. Don't get me wrong -- I think the CSO is doing some fine work, including its Classical Roots concerts in churches, a partnership with Sphinx and "Open Door" Concerts. Here's what Detroit has done:

-- Issued a "Black Composers Series" on Columbia Records in the 70's
-- Founded the Civic Orchestra in 1970s led by Paul Freeman, to actively cultivate minority talent
-- 29 yrs of annual "Classical Roots" concerts that are part of the regular classical subscription series; presenting works by African-American composers including many world premieres and DSO debuts, and performed by African-American guest artists
-- Annual African-American composer competition, reading sessions and national symposium
-- Annual African-American Composer-in-Residence, with world premieres and commissions by that person
-- An African-American Fellowship Program
-- Two series of recordings on Chandos with all African-American composers
-- Continuous expansion of Civic Ensemble programs, with the goal of teaching 500 young people both classical and jazz at the orchestra's attached school
-- Educational collaboration with the Detroit School of Arts
-- Independent Black Composers Series re-release and a new recording with five world premieres by DSO African-American composers-in-residence
-- Classical Roots Annual Gala to support initiatives
-- Partnership and support provided to Sphinx Competition
-- Collaboration with African-American churches in Detroit for gospel/holiday concerts
-- Long tradition of minority leadership on conducting staff
-- Classical Roots Young Friends committee to generate support of young African-Americans in community

I asked the orchestra's spokesperson Jill Woodward if all of this is making an impact.

They have not done formal research about their audience makeup, but she says, "as someone who analyzes the faces at our concerts every weekend, I'd say yes. That doesn't mean we don't still have a long way to go. But I would say we'd probably stack up pretty well against any orchestra in the country for percentage of African-Americans in our hall for classical concerts (our jazz series is higher).

"The Fellowship program has a huge track record of success. We know where all the alumni are, and they all have jobs. Changing the demographic of the orchestra, as you know, can only happen at a glacial process ... So having 10-15 alums who are all now playing, including our own Principal Trombone (who won a blind audition) speaks for itself. This program finds the talented minorities out there, then gives them a true competitive advantage.

"We recruit heavily in the African-American community for our education programs, and those participating are about 25 percent minority. Those kids may not turn out to be professional musicians (although we've sent a few on to full scholarships -- a kid named Omar Butler to name one, to Juilliard) -- but no matter what, they are likely to be future concert-goers and better educated."



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