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Daniel Hathaway founded ClevelandClassical.com in September, 2008, after a thirty-one year tenure as music director of Cleveland’s Trinity Cathedral, where he founded the Wednesday Noon Brownbag Concert Series and Trinity Chamber Orchestra. A graduate of Harvard College and the Episcopal Divinity School, he also studied historical musicology at Princeton and Harvard Universities. Before coming to Cleveland in 1977, he served as head of humanities at the Sunset Hill School in Kansas City and as head of arts at Groton School in Massachusetts. In Cleveland, he has served on the music staff of Cleveland Opera, Great Lakes Theater Festival, and the faculty of Laurel School. As an organist, Hathaway has played recitals in the U.S., England, France, Germany, and Austria. He team-teaches Music Journalism at Oberlin College and Conservatory and is a member of the Music Critics Association of North America.
By Robert RollinOn Friday evening November 1, Youngstown’s Calvin Center for the Arts hosted a concert featuring sarangi virtuoso Harsh Narayan of Mumbai, India, accompanied by tabla artist Joe Culley of Kent, Ohio. The concert took place in the Yoga room, an intimate space that provided a warm atmosphere for the small but enthusiastic audience. Narayan explained that the sarangi dates back to 6th Century India, when at first it accompanied the human voice, even imitating vocal ornaments and slides. By Nicholas StevensTell a classical fan that you recently heard an ensemble play a piece from the 1920s that features a solo snare drum, and their mind might snap to any of a number of dubious ultramodern experiments of that era. A late October program by The Cleveland Orchestra at Severance Hall, at once offbeat and logical in its selection of delights, short-circuited stereotypical associations of the idiosyncratic with the avant-garde. Ovations for percussionist Marc Damoulakis and clarinetist Afendi Yusuf capped a concert devoted to Romanticism in all its strangeness. By Nicholas StevensSpare a thought for Fretwork: a recent tour of North America hit a snag when cracked one of their violas da gamba.
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Instruments of this family constitute the entire toolbox of the group, a viol consort that presents the fraternal twin to the violin as though it had never lost its cachet. For many Northeast Ohioans, warm feelings for the group remain fresh after a late-October concert, part of a tour that pitted them against all too modern perils. In a careless, rushing world, their meticulous musicianship and willingness to let music unfold feel less like dusty artifacts than like emblems of a future worth fighting for. By David KulmaIf anyone is worried about the future of opera, all they have to do is attend a college production to calm the nerves. There are numerous highly-skilled young people ready to take up the genre’s mantle, as was clear from the Cleveland Institute of Music Opera Theater’s production of The Juniper Tree in Mixon Hall on Halloween weekend. I attended opening night on Thursday, October 31, which was dedicated to the memory of the late Cleveland arts icon A. Grace Lee Mims.
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Artistic director Dean Southern chose a relatively recent work composed in 1984 by Philip Glass and Robert Moran. With a libretto by Arthur Yorinks, The Juniper Tree takes its plot from a grim tale by the Brothers Grimm. By David KulmaWe live in an age where opera, no longer restricted to theaters and concert halls, is happening in every place imaginable. This was the case when Baldwin Wallace Opera Theater presented two performances of Henry Purcell’s Dido and Aeneas at RED Space in downtown Cleveland. I attended on Thursday, October 24. Lasting about an hour and with roles that you can divide up between seven women and two men, Dido is perfect for female-dominated college voice programs. But how do you make it work in a cement box?