Author: janellegelfand

I have covered classical music and the arts in Cincinnati for more than three decades, play piano and tennis and enjoy traveling. Note: As a guest posting content to this blog, you agree to the following guidelines: Keep the conversation civil, courteous and constructive. We encourage all viewpoints and ideas but ask that comments be respectful of others' views. No profane, offensive, harassing or inflammatory language please. Honor the copyrights and trademarks of others by not posting or uploading any material that infringes on the copyright, trademark, patent, or intellectual property rights of others. Do not post, upload or link to unsolicited or unauthorized advertising or promotional materials. Do not post, upload or link to content that contains any product, service or political endorsements. Thank you!

Chuck Miller, savior of Sorg Opera House, steps down

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Chuck Miller in his element, backstage at the Sorg

It took a man with a vision to see the beauty behind the dilapidated and abandoned Sorg Opera House in Middletown. Now, as John Kiesewetter reports this morning, Chuck Miller has resigned as president of the Sorg Opera Revitalization Group (SORG) to become the new executive director of the historic “State Movie Palace of Kansas,” the Fox Theatre in Hutchinson. Wife Denise Brodsky has also resigned her position on the board.

Current board members Roger Daniels and Chris Riva are stepping in to fill roles, although his successor has not been decided.

Here’s my story from about a year ago of how Chuck and his devoted board have been working — extremely hard — to restore the Hannaford-built theater to its former grandeur.

There are similarities between the Sorg Opera House (1891) and Music Hall (1878) as you can see in the balconies. Both were designed by Samuel Hannaford. The Sorg is on the National Register of Historic Places.
In the lobby
You can visit your old Music Hall seats

I’m posting a few memories of visiting the Sorg while these dedicated preservationists were at work restoring and programming a series of concerts in the hall. By the way, the acoustics are wonderful. And, for people who remember Music Hall’s old seats, you can revisit them up in Middletown.

Good luck Chuck and Denise! You’ll be missed.

Baroque Violin Shop owner Paul Bartel was an enthusiastic ambassador for music

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Paul Bartel playing his Stradivarius violin, made in 1680

Paul Bartel was passionate about strings and equally passionate about sharing his love of classical music with students. The violinist, music educator, owner of the Baroque Violin Shop and founder of the Wyoming Fine Arts Center is remembered by Cincinnati’s music community as being generous, humble and always supportive.

‘He was a guy who was larger than life, always giving, always caring, always seeming to have boundless energy,” said Milan Dukic, executive director of the Wyoming Fine Arts Center since 2008. “In the early days of the center, if there was a shortfall, Paul wrote a check. He believed in the mission of having a community center and of having kids learn music.”

Mr. Bartel died on July 27 after a long battle with cancer. He was 67.

Mr. Bartel often spoke about how playing the violin in school became the inspiration for what he would become, Dukic said.

He was born in Columbus, OH. A 1972 graduate of Miami University, Mr. Bartel taught violin students and repaired instruments on the side while still a student in Oxford, OH. He taught strings at Finneytown School District for seven years, continuing to repair musical instruments in his spare time.

Paul Bartel in his workshop at the Baroque Violin Shop

With a vision to support young string players and school music programs by providing high quality instruments at low cost, he resigned from teaching to devote himself full-time to the Baroque Violin Shop, then in his Finneytown home.

As the business expanded, Mr. Bartel purchased the historic, 1805 Carrie-Jessup House in Finneytown in 1990, and spent six months restoring it. Over the years, the shop’s musical instrument rentals, repairs and sales have boomed, making the business one of the largest in the country, with a substantial inventory of stringed instruments.

The shop rents and sells violins, violas, cellos and basses to thousands of students and professionals in 50 states. There are 7,000 to 9,000 rental instruments in use at any given time, said CFO Stephen Heck, Mr. Bartel’s son-in-law.

“What I really respected about him was that he was quiet about his generosity. Most things people never knew about, because he didn’t want himself to be a focus,” Heck said. “He never did things to enhance his business. That was only secondary and never the focus.”Read More »

Arts in the news… Barbara Kellar honored; Louis Langrée extends Mostly Mozart

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I’m catching up with arts news in a busy summer. Here are a few highlights:

Cincinnati MacDowell Society members Janet McDaniel (President), MacDowell Medal honoree Barbara Kellar with her husband, Larry Kellar.

In 1916, Cincinnati MacDowell Society began awarding the MacDowell Medal to an outstanding local artist for his or her contribution to the fine arts in the community. At the society’s annual meeting last month, this year’s medal was awarded to Barbara Kellar, for receiving a 2018 Regional Emmy for her CET show, “Showcase with Barbara Kellar,” as well as for her service to MacDowell. She is a past CMS president.

The portrait was painted by member Setsuko LeCroix as a personal surprise for Barbara. The medal, by the way, was designed by sculptor, member and past president, Ernest Bruce Haswell.

Louis Langrée 
Photo: Chris Christodoulou

Louis Langrée extends contract at Mostly Mozart: Music director Louis Langrée, who leads the Cincinnati Symphony Orchestra, has extended his contract with Lincoln Center’s Mostly Mozart Festival through the summer of 2023. He has directed the New York festival since 2003, making 2023 his 21st season. The announcement was made by artistic director Jane Moss on the eve of the 2019 festival earlier this month.

Now in his 17th season, Langrée is credited with expanding the scope of the chamber orchestra’s repertoire well beyond the classical period, from Baroque composers such as Jean-Baptiste Lully to composers of today such as Magnus Lindberg. He has just finished conducting a run of the Barrie Kosky and Berlin Komische Oper production of Mozart’s “The Magic Flute” — a first for Mostly Mozart — at the David H. Koch Theater.Read More »

Last-minute Romeo (aka car buff, surfer) steps in at Cincinnati Opera

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Matthew White debuts as Romeo this week with Cincinnati Opera. Photo provided.

When Canadian tenor Frédéric Antoun had to withdraw as Romeo in Cincinnati Opera’s “Romeo and Juliet” (for personal reasons) two weeks before rehearsals were to begin, artistic director Evans Mirageas knew he had a problem.

“Romeo is a notoriously difficult role, and the opera isn’t performed as often as the other warhorses, so the pool of singers who would know the role is small,” says Mirageas.

Besides that, there was no time to secure an artist visa for an international singer — a process that can take months.

“Luckily,” says Mirageas, “we found Matthew, a very gifted young artist who had just sung the role in his final year at the Academy of Vocal Arts.”

The 27-year-old American tenor Matthew White will make his debut opposite Cincinnati favorite Nicole Cabell as Juliet, in her sixth appearance with the company.

Had Cincinnati Opera not called, the tenor’s summer plans included returning to his tiny hometown in Virginia’s Shenandoah Valley, practicing for upcoming roles and working on his Volkswagen GTI. Or he might have waxed up his surfboard, as he has a surfboard business with an international client list.

He’s won a fistful of prizes: Grand Prize of the Gerda Lissner International Vocal Competition, 1st place in the Deborah Voigt International Vocal Competition, 2nd place in the Metropolitan Opera National Council Auditions Mid-Atlantic region, Grand Prize in the Mario Lanza Vocal Competition, and he was the recipient of the Alfonso Cavaliere Award.

Matthew White as Romeo in Gounod’s ‘Romeo and Juliet’

In his future, he’ll debut leading roles with The Dallas Opera, Edmonton Opera, and Tulsa Opera following his Cincinnati debut.

“It’s a major opportunity for him, in what could prove to be a breakout role. Cincinnati gets to see him first!” says Mirageas.

“Romeo and Juliet” will be presented at Music Hall on June 27 and 29 at 7:30 p.m. Tickets are available through the Cincinnati Opera Box Office at (513) 241-2742 or cincinnatiopera.org.

Watch for my review of tomorrow night’s performance on the Arts Front at bizjournals.com/cincinnati.

Click here to read the review for “The Marriage of Figaro,” which opened the season.

Impressive musical lineup to benefit Literacy Council

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Lit_Council1 image 2019Next Sunday, June 23, an impressive lineup of local classical musicians will come together for a concert to benefit the Literacy Council of Clermont & Brown Counties. Reach for the Stars will take place at 4 p.m. June 23 at Knox Presbyterian Church in Hyde Park.

Spearheaded by Suzanne Bona, host of the nationally broadcast public radio program “Sunday Baroque” and an accomplished musician, the concert aims to raise awareness and funds for adult literacy.

“With the upcoming 50th Anniversary of the Apollo 11 moon landing, we thought it would be fun to feature music with astronomical themes such as Holst’s ‘Mars’ and Beethoven’s ‘Moonlight’ Sonata,” said Bona. “Plus, Reach for the Stars is what the clients of the Literacy Council do every day as they open up the world of possibilities reading can bring.”Read More »

Der Freischütz hits the mark in rare American performance by Queen City Opera

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The hunters carried assault rifles in Queen City Opera’s “Der Freischütz.” Photo by Tina Gutierrez

It’s amazing that Carl Maria von Weber’s 1821 opera, “Der Freischütz,” is rarely performed in the United States. The early German romantic opera – which Queen City Opera loosely translated as “The Magic Bullets,” has a rich orchestral score, wonderful choruses and arias and a supernatural story. It’s easy to see how it paved the way to the German opera that was to come, especially that of Richard Wagner.

Isaac Selya, founder and artistic director of Queen City Opera and conductor for the production, told me in an interview for the Cincinnati Business Courier that the opera has only been performed once before in Ohio, by Cincinnati Opera in 1933. According to Operavore, the Met last performed this early romantic gem in 1972.

On Sunday, I joined many other opera lovers who were curious to see and hear Weber’s under-appreciated work, which was staged by Rebecca Herman. Read More »

Coming up: Paradise for piano lovers

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Awadagin Pratt established Art of the Piano nine years ago at CCM

Awadagin Pratt’s 2019 Art of the Piano Festival will pair legendary soloists with young artists from around the globe starting this weekend, May 25 through June 15 at the University of Cincinnati College-Conservatory of Music.

The ninth annual festival will feature 15 renowned artists in recitals and conducting public master classes with rising stars. Besides Pratt, a CCM faculty member, the festival includes the return of legendary pianist Leon Fleisher, as well as Christopher O’Riley, Alexander Korsantia, Boris Berman, Jura Margulis, Maria Murawska and Vladimir Feltsman.

There are also recitals by young artists. The festival will include pre-concert gatherings with food, wine, and talks with the artists and talk-backs with the artists at the close of their concerts.Read More »

May Festival in full swing

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View of the stage on Opening Night at the May Festival

Here are last weekend’s reviews:

Friday night’s review of Mark Simpson’s “The Immortal” is published on the national website, Classical Voice North America, free to read by clicking here.

And Saturday’s review is published locally by the Cincinnati Business Courier. Remember that the Arts Front is always free, but you may need to register for a FREE subscription. Click here for the review, and click here to read the season preview.

Tonight, May 23: Craig Hella Johnson leads Cincinnati’s Vocal Arts Ensemble in a performance of his own oratorio, “Considering Matthew Shepard.” The work provides “a space for reflection, consideration and unity around (Matthew Shepard’s) life and legacy,” Johnson says. Rod Caspers, stage director. 7 p.m., Corbett Auditorium, CCM. (Note the show is moved from PCT due to ticket demand.)

Herald trumpets hail the season

Friday, May 24: Music director laureate James Conlon returns to the Festival for the first time since 2016 to lead Mussorgsky’s Prologue and Farewell Scene from “Boris Godunov,” Boito’s Prologue from “Mefistofele” and Mahler’s “Das Klagende Lied,” with soloists Morris Robinson, Sarah Vautour, Taylor Raven, Richard Trey Smagur, John Siarris and Donnie Ray Albert. Conlon gives the preconcert lecture at 7 p.m. in Springer Auditorium.

NOTE THE EARLY START TIME, Saturday, May 25: Juanjo Mena leads J.S. Bach’s “St. Matthew Passion” with soloists Berit Norbakken Solset, Carlos Mena, Werner Güra, James Newby, Andrew Stenson and Hanno Müller-Brachmann and the May Festival Youth Chorus.  7 p.m., Music Hall (Note the early start time).

And here’s the review of the second weekend.

Vocal pyrotechnics by Roomful of Teeth at May Festival

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Roomful of Teeth played the Woodward Theater for the May Festival. Photo provided/Lee Snow

It’s hard to categorize Roomful of Teeth, a vocal octet that calls itself a “vocal project.” On Wednesday, the singers — Abigail Lennox and Martha Cluver, sopranos; Alexandra Colaizzi and Virginia Kelsey, altos; Eric Dudley, tenor (former assistant conductor of the Cincinnati Symphony Orchestra); Avery Griffin, baritone; Thann Scoggin, bass-baritone, and Cameron Beauchamp, bass — amazed a sold-out house with their vocal pyrotechnics at the Woodward Theater in Over-the-Rhine.

There were about 150 music lovers, with a space for standing room, for this sold-out “extra” concert, a first at the 146-year-old Cincinnati May Festival.

It’s safe to say that their style of singing is unusual, if not revolutionary. Their musical palette — some of which was showcased in their first number, Caroline Shaw’s Partita for 8 Voices — included whispering, throat singing, bending of tones, yodeling and possibly some Bulgarian belting, one of their specialties. It was performed with amplification, but nothing, I’m told, was electronically manipulated — which made the feats they achieved even more stunning.Read More »