Gathering Note

Omar’s Journey is a new milestone for the Quad City Symphony

_{James Dixon, Himie Voxman, and Dimitri Mitropoulos, 1952. Photo Credit: University of Iowa}

For over a century, the Quad City Symphony Orchestra (QCSO) has stood as a cultural gem nestled between the major Midwestern cities of Chicago, Minneapolis, Milwaukee, and St. Louis, just a few blocks from the banks of the Mississippi River. Throughout the 20th century, as musicians, soloists, and orchestras embarked on regional tours, the QCSO often served as a strategic and welcoming stop. It provided a platform for artists en route to more renowned venues, enriching the local cultural scene and solidifying the orchestra’s role as a significant hub in the Midwest’s music circuit. This legacy helped foster a deep tradition, making the QCSO a cherished institution in the region.

One of my most treasured keepsakes from this era with the QCSO is their cookbook titled Standing Ovations. It’s a quintessential Midwest cookbook, filled with hearty recipes and straightforward preparations. What truly makes it a keeper, however, are the contributions from the QCSO’s frequent guest artists, such as baritone Robert Merrill (Cheese Pancakes), cellist Leonard Rose (Steak With a Kick), and the Contiguglia Brothers piano duo (Fusilli with Creamy Zucchini), among others.

Mahler, Bruckner, and a nose-picking moment of truth

_{Kirill Petrenko and the Berlin Philharmonic}

If classical music had its own sacred pilgrimage, the Berlin Philharmonic would undoubtedly be its ultimate destination—a place where music reaches its zenith. Attending one of their concerts isn’t just hearing an orchestra; it’s an experience akin to standing in awe at the Vatican or Mecca. No matter what they’re playing, you simply need to hear them. I’ve been fortunate enough to witness their majesty twice, both times in Chicago. The first was Mahler’s 7th Symphony, and more recently, Bruckner’s 5th Symphony.

Bruckner’s 5th is often regarded as one of the composer’s most challenging works to comprehend. It unfolds gradually over three movements, creating the impression of an extended prelude. Much like the nearly two-hour Act I of Götterdämmerung, this prelude seems to build toward something profound and otherworldly. By the time listeners reach the fourth and final movement, the stage is ready for something monumental. Bruckner delivers a masterful synthesis of earlier themes. This is woven into a fusion of forms and structures. It approaches his vision of the heights music can reach.

Palindromic beauty at the CSO with Vilde Frang and Hannu Lintu

_{Conductor Hannu Lintu congratulates soloist Vilde Frang following her CSO debut performance of Stravinsky’s Violin Concerto with the Chicago Symphony Orchestra. Photo Credit: Todd Rosenberg}

Originally published at Seen and Heard International

Chicago’s first snowfall of the season also marked the return of Hannu Lintu to Orchestra Hall, though an afternoon rise in temperature meant that, by the time the maestro ascended the podium, snow had transitioned to rain and a steady melt. The meteorological pivot in some ways mirrored the contrasts the Finnish conductor was bringing to the Chicago Symphony Orchestra.

On his earlier visit to Chicago, Lintu balanced the familiar and the unexpected, pairing well-known crowd-pleasers by Shostakovich and Tchaikovsky with seldom-performed works by Saariaho and Mussorgsky. For this current engagement, Lintu—joined by the Norwegian violinist Vilde Frang, a rising star with an already formidable reputation—brought a program just as intriguing, with contrasts between pieces that exuded entertaining push-and-pull tension.

Elena Dubinets heads to the Concertgebouw

Fantastic news from the Netherlands: Elena Dubinets has been named Artistic Director of the Concertgebouw Orchestra. Dubinets was a transformative force during her time at the Seattle Symphony, and now Amsterdam is about to see why.

During her Seattle days, Dubinets brought fresh ideas to programming that made the Symphony not just good but great. Remember when they commissioned John Luther Adams’ Become Ocean? That wasn’t just any new piece—it won the Pulitzer Prize and it helped reestablish the Seattle Symphony’s relevance.

I first encountered Dubinets’ work during my time as a student at the University of Iowa, though I didn’t realize it then. In the fall of 2000, she curated a Russian contemporary music festival, which Taruskin covered for The New York Times. I sat in the audience, captivated and wide-eyed, as I absorbed the unfamiliar sounds. Our paths crossed again years later when I briefly served on the board of the Seattle Chamber Players and later assisted her and the Seattle Symphony with visa applications for a group of artists who had limited experience performing in the United States.

She left Seattle during the pandemic—a loss for Seattle—and spent the last few years doing brilliant work with the London Philharmonic. Now, she’s heading to Amsterdam to work with Klaus Mäkelä, the Concertgebouw’s incoming music director. Mäkelä is already being hailed as one of the most exciting young conductors in the world and pairing him with Dubinets feels like a good match.

Klaus Mäkelä meets Shostakovich

The election last week has been, to put it mildly, numbing. I made it through about a year of the first Trump administration before the despair set in. It was the Jesuits—thank you, St. Joseph and Seattle University—who helped keep my soul intact, offering me a lifeline of reflection and community. And, surprisingly, Leif Ove Andsnes’ Sibelius recital album also played its part.

Cathedrals of sound

It’s been four months since J and I arrived in Seattle. We’re still settling in, but we’re growing fond of Chicago’s concert and classical music venues. We’re both old enough to have heard dozens of Chicago Symphony concerts in Orchestra Hall already or spent a lazy summer evening sprawled out on the lawn in front of the Jay Pritzker Pavilion listening to the Grant Park Orchestra. But they are ours now. In time, maybe they’ll even be something of a third place for us the way Benaroya Hall and McCaw Hall were. Helping us form an even deeper love for music as we march further into middle age. Enjoy some of my favorite photos of Orchestra Hall, Fine Arts Building, Jay Pritzker Pavilion and Civic Opera House.

John Sharp and Don Quixote: Chicago Symphony’s principal cellist returns to a classic role

CSO Principal Cello John Sharp. Photo Credit: Todd Rosenberg

Originally published at Seen and Heard International

“It was intimidating and it was thrilling. That’s what I remember about my first audition week,” John Sharp says, reflecting on his first moments with the Chicago Symphony Orchestra. “To see Solti conduct and the way the orchestra played—it was really something incredibly exciting.”

Sharp, now the CSO’s principal cellist, began his musical journey far from the concert stage. Growing up in Texas, it was a stroke of luck that led him to the cello. “It was complete chance, really. I raised my hand,” he recalls, thinking back to his early days with the cello. “I was trying all kinds of things and ended up choosing the cello.” That choice propelled him on a professional journey that, starting October 24th, will see him perform Richard Strauss’ Don Quixote with the CSO under the baton of Donald Runnicles.

Chicago Opera Theater’s Leonora shines light on overlooked masterpiece

Originally published at Seen and Heard International

As the overture of Ferdinando Paër’s Leonora filled the historic Studebaker Theater, the audience for Chicago Opera Theater’s opening opera of the season experienced a once-in-a-lifetime opportunity to witness an important – yet sadly overlooked – early 19th century opera. In fact, calling this a once-in-a-lifetime opportunity may understate its rarity. The performances of Leonora that began on October 4th marked the work’s North American premiere. Chicago Opera Theater’s production complements the Lyric Opera’s own run of Beethoven’s Fidelio, not only bringing the story of love and tyranny to life but also showcasing the emotional depth that Paër infused into his music, which stands in contrast to Beethoven’s take on the same story.

Tension and drama abound in CSO’s performance of Tchaikovsky’s Fourth and Walton’s Viola Concerto

_{Antoine Tamestit, Credit: Julien Mignot}

Originally published on Seen and Heard International

Having been captivated for years by Tchaikovsky’s Fourth Symphony in F minor, I’ve attended countless performances, each offering their own insights. In my younger years, I found solace in the symphony’s emotionally charged melodies and the struggles against Fate they embodied. Growing older, however, I began to feel that Tchaikovsky’s histrionics sometimes missed their mark in concert. Yet, with the Chicago Symphony season barely a week old, Thursday’s performance, conducted by Nikolaj Szeps-Znaider — a frequent guest at the podium of Orchestra Hall — promised a compelling fresh perspective on this well-trodden classic by juxtaposing it with two seldom-performed works: Ralph Vaughan Williams’ Overture to The Wasps and William Walton’s Viola Concerto.

Seattle Opera’s ‘X’ Reflects on Malcolm X’s Legacy, past and present

X: The Life and Times of Malcolm X was a groundbreaking work. Its 1986 premiere marked a significant moment for both the composer and the opera world. X finally graced the stage of the Metropolitan Opera in late 2023, further – if belatedly – recognizing the opera’s impact. And in early 2024 it was eagerly welcomed by Seattle audiences.

Beyond its artistic merit, X proved to be a powerful social force. Performances in Seattle drew a notably diverse audience, especially for a region of historically lower diversity. This alone suggests that contemporary opera has the potential to go beyond traditional boundaries and engage a wider range of people when tackling relevant and thought-provoking themes. The success of X serves as a beacon of hope, demonstrating that opera can evolve and stay relevant in an ever-changing cultural landscape.