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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 17, 2008

Night Two at the May Festival

Here's the review from last night's May Festival.


1 Comments:

at 5/19/2008 08:31:00 AM Blogger Meridian13113 said...

Your comment about the insecurity of the chorus in the Hebrew text was possibly because of your unfamiliarity with the Ashkenazic Hebrew sung in the Zeisl piece (as opposed to the usual Sephardic Hebrew that is more often heard -- as in Bernstein's "Chicester Psalms," for example).

The Hebrew diction coach of the chorus was very pleased with the way the Hebrew was performed, and the chorus was perhaps more confident in that particular piece than in any other in the festival this year.

I'm also sorry you didn't like the fugue (your review wasn't clear if you didn't like the fugue as it was written or if you didn't like the performance of the fugue). It may very well be the favorite piece for many singers this year. We think it is wonderful.

After Paavo Jarvi's brilliant interpretation of the Beethoven Ninth in September of 2005, Conlon's version seemed to me and many others to be uninspired and in places downright boring. The orchestra seemed similarly uninspired and I heard many disconnects, especially in the first movement.

Fortunately, the finale did have some fire and sparkle, which helped to compensate for the rather pedestrian first three movements.

 
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