Joshua Mhoon wins the Nina Simone Piano Competition

Winner Joshua Mhoon with Music Director Cristian Măcelaru, who was also an adjudicator. Photos by Phil Armstrong, with thanks to the Cincinnati Symphony Orchestra

To play Rachmaninoff’s Piano Concerto No. 3, you need to possess a spectacular technique, expressive power and, not least, endurance. Pianist Joshua Mhoon had all those and more.

Mhoon, 22, won first prize in the Nina Simone Piano Competition, held on Wed. Oct. 7 in Music Hall. Three finalists — Evan Hines, John Paul McGee and Mhoon — competed in the Solo Round followed by the Concerto Round in the competition. Music Director Cristian Măcelaru conducted the Cincinnati Symphony Orchestra for the Concerto Round, during which the young artists each performed a complete piano concerto.

Mhoon was awarded the $12,000 first prize, as well as a recital at the San Francisco Conservatory of Music presented by Opus 3. Second prize ($4,000) went to Evan Hines. John Paul McGee won third and $2,000. A small audience of symphony fans and piano aficionados was on hand, and gave warm responses to each artist.

The finalists of the Nina Simone Piano Competition: Joshua Mhoon, music director Cristian Măcelaru, Evan Hines and John Paul McGee

The previous rounds of the Artist Division were held at the San Francisco Conservatory of Music, said Awadagin Pratt, who is currently professor of piano on its faculty after serving on the piano faculty at CCM for two decades. Pratt is founder of the Art of the Piano Foundation, which hosts the biennial Nina Simone Piano Competition to spotlight talented young African American classical pianists. He is a Yamaha Artist, and the competition was using a Yamaha concert grand piano.

The judges were Pierre Van Der Westhuizen, executive and artistic director of the prestigious Gilmore Piano Festival (and a CCM alumnus); Mikael Darmanie, also a CCM grad, who is busy classical performer, composer and conductor with an eclectic career as a DJ and member of the Warp Trio. Măcelaru served as the third judge.Read More »

Cincinnati Opera announces stars for ‘Viva Verdi!’

Ailyn Perez and Soloman Howard – Photo by Soloman Howard

Soprano Ailyn Pérez, mezzo-soprano J’Nai Bridges, tenor Matthew White, baritone Michael Chioldi, and bass Soloman Howard are the international opera stars who will headline Cincinnati Opera’s “Viva Verdi!” special concert as part of its 2027 Summer Festival.

The concert, to be at 7:30 p.m. June 25, 2027 in Music Hall, celebrates a transformational $6 million gift from the Harry T. Wilks Family Foundation.

Tenor Matthew White JustJamiPhotography

 

Cincinnati Opera announced the cast this week. The cast includes some of the most sought-after voices in classical music who perform regularly with prestigious opera companies and orchestras throughout North America, South America, Europe, and Asia. (Opera fans will recognize a number of Cincinnati Opera appearances, as well.)

They will be joined by the Cincinnati Opera Chorus, under the leadership of Chorus Master Henri Venanzi, and the Cincinnati Symphony Orchestra conducted by Alex Amsel.

This special concert is made possible by a transformational $6 million gift from The Harry T. Wilks Family Foundation, led by trustees Nanci Wilks Lanni and Barbara Wilks.

The gift was first announced from the Music Hall stage during Cincinnati Opera’s July 2026 performances of Carmen. It will establish The Harry T. Wilks Family Foundation Fund for Leading Artists, an endowed fund that will provide Cincinnati Opera with ongoing support for the presentation of singers of the highest quality, beginning in 2027 and continuing with key principal artist engagements in seasons to come.Read More »

Ariel Quartet opens its 15th season and a new piano faculty member takes a bow

L to R: Ariel Quartet members violinists Gershon Gerchikov, Alexandra “Sasha” Kazovsky and violist Jan Grüning; pianist Liza Stepanova and Ariel Quartet cellist Amit Even-Tov

It’s hard to believe that the Ariel Quartet has been quartet-in-residence at CCM for 15 years. Lest we ever take this astonishing young ensemble for granted, it’s important to know that their annual concert performances are as fresh, invigorating and insightful as they were when they’d just arrived.

The Ariels – violinists Alexandra “Sasha” Kazovsky and Gershon Gerchikov, violist Jan Grüning and cellist Amit Even-Tov – came together as teenagers in 1998, and three are original members. Lately, their big project has been to record the entire cycle of Beethoven String Quartets. Vol. III is expected out any day on CD and on streaming platforms. Read more about that here.

Their program, titled “Blueprints,” included Haydn’s String Quartet in C major, Op. 33, No. 3 (“The Bird”) and the Pulitzer Prize-winning composer Caroline Shaw’s “Blueprint” in the first half. (The Ariel will reprise these two works on Dec. 8 at Carnegie Hall.)

After intermission, the quartet was joined by CCM’s newest member of the piano faculty, Liza Stepanova, who played superbly in Shostakovich’s Piano Quintet in G minor, Op. 57.

The small Werner Recital Hall at CCM was jam-packed with faculty members, students, patrons and loyal fans of the quartet. They opened with Haydn’s Quartet Op. 33, No. 3, subtitled “The Bird” – either for its chirping opening theme or the trilling duet of the violins in the second movement. Read More »

CSO adds nine (9) new players

Molly Norcross is the new principal horn of the Cincinnati Symphony Orchestra

Just when you thought you knew most of the new musicians in the Cincinnati Symphony Orchestra, the orchestra under the direction of Music Director Cristian Măcelaru has announced nine more new hires. They’ve also announced the appointment of Cincinnati Symphony Youth Orchestra’s (CSYO) new Concert Orchestra Conductor, and two conducting contract extensions for the 2026–27 season.

The musicians won positions following extensive auditions from a national applicant pool.

The new players are: Molly Norcross, Principal Horn; Mark Debski, Associate Principal Oboe; Drew Morgan, Associate Principal Horn; Ania Lewis, Assistant Principal Cello; Jessica Kovach, Section Bass; and Alex Pride, Section Trumpet. One-year appointments include Celia Daggy, Acting Associate Principal Viola and Micah Reinharz, Acting Associate Principal Trumpet.

Also joining the Orchestra this year is cellist Osheen Manukyan as the CSO’s inaugural CSO Resident Fellow. Leading the Cincinnati Symphony
Youth Orchestra Concert Orchestra is Lina Jeong, who is currently orchestra director at Xavier University.

In addition, the CSO announced a one-year contract extension with CSO Assistant Conductor Duo Shen, and Assistant Conductor Alex Amsel has been promoted to Associate Conductor with a one-year contract extension.

Congratulations to all! Below are more details:

Read More »

Sparkling Streams for instruments and computer

The Fall concert season is fast approaching. One of the first concerts that caught my eye was CCM composer Mara Helmuth’s Faculty Artist Recital titled: SPARKLING STREAMS: Music for Instruments and Computer.

The concert is 7:30 p.m. Sept. 1 in Cohen Family Studio Theater at CCM.

Mara is a pioneer of computer music in Cincinnati, the director of CCM’s Center for Computer Music and a 2025 Guggenheim Fellow. When I was an undergrad at Stanford University, I’d sometimes catch a concert by John Chowning, who set up the first research center for computer-based technology as a means for artistic expression.

Technology has traveled light years since then. You don’t have to be a computer geek to enjoy the sounds that will be created in this concert of multichannel and multimedia works by Helmuth and collaborators.

You will hear two world premieres, multimedia and several environmentally-themed works: “Burren Wind” for tárogató (also known as Turkish pipe); video and 8-channel computer music; “All Alarms Sounding” for piano and electronics; “Night Shimmer” for vibraphone and electronics; “Water Birds” for clarinet and computer music; “Messages from a Hot Rotating Star” (live pulsar data sonification and visuals), and “Wind Blown Rain” for tárogató, video and computer music.

Guest artists are Patti Cudd, percussion; and Esther Lamneck, tarogato; and alumni artists Shiau-uen Ding, piano and Andrea Vos-Rochefort, clarinet.

Estimated run time: 90 minutes
Location: Cohen Family Studio Theater. CCM
Admission: FREE

Bizet’s tunes steal the show in Cincinnati Opera’s updated ‘Carmen’

Carmen (J’Nai Bridges) joins Escamillo (Ryan McKinny) in his celebration. Photos by Philip Groshong for Cincinnati Opera

Georges Bizet’s “Carmen” is possibly the most popular opera ever written. Besides its dramatic story, you are left humming its gorgeous, unforgettable tunes days later. Cincinnati Opera has mounted productions of “Carmen” since it’s second season,1921, in Cincinnati Zoo Pavilion.

On July 25 in Music Hall, I saw the 179th performance of “Carmen,” opening night of the final opera of its mainstage season, with a fine cast and an engagingly updated co-production. Although the performance was sometimes uneven, there were many standout moments. For me, the highlight was Bizet’s musical score, given a spirited reading by the Cincinnati Symphony Orchestra in the opera pit under the baton of Spanish conductor Ramón Tebar.

Tebar led the orchestra briskly through the Prelude’s bright opening themes. When the music arrived at the “Fate” theme, the lights dimmed theatrically (Thomas C. Hase). The curtain rose on 1950s Havana, where the cigarette girls had to be unlocked from cage-like doors in order to take their factory break, perhaps a nod to Havana just before Fidel Castro came to power. The set designs by Gary McCann, who also designed the wonderful midcentury costumes, were charmingly evocative of old Havana. The heat was almost palpable in the saturated red lighting that simmered in the background against a painterly blue sky. The smuggler’s mountaintop hideout was a gloomy, abandoned warehouse with looming windows and a large doorway, through which the smugglers loaded their loot.

The title character, Carmen, performed by mezzo-soprano J’Nai Bridges, is a free-spirited femme fatale who seduces Don José and then dumps him for the toreador, Escamillo. In 2021, Bridges provided a glimpse of her gifts in an abridged “Carmen” with Cincinnati Opera. It was performed outdoors at Summit Park in Blue Ash, amplified and with Covid protocols in place.

A desperate Don José (Matthew White) confronts Carmen (J’Nai Bridges).

In this production, originally staged by Paul Curran and locally directed by Anderson Nunnelly, Carmen was more defiant than flirty or sensual. Bridges’ rich mezzo-soprano was pleasing in the upper register, although her lower phrases did not project well in the “Habanera.” Her Carmen had an edge – the director brought the factory spat vividly outdoors, as Carmen slapped a woman and yanked her hair. It was clear that men were putty in her hands as she tore off her apron down to a red dress for her sizzling “Seguidilla.”Read More »

The world premiere of ‘John Lewis: Good Trouble,’ a lavish ‘Turandot’ and ‘Figaro’ will grace Cincinnati Opera’s 2027 season

Cincinnati Opera will mount Puccini’s “Turandot” for the first time since 2015. Production photos of Palm Beach Opera Turandot, January 24, 2020. Bruce Bennett – Palm Beach Opera

Cincinnati Opera’s 2027 Summer Festival will open with the world premiere “John Lewis: Good Trouble,” chronicling the life of the U.S. Congressman and Civil Rights icon. The season will include a lavish production of Puccini’s “Turandot,” not seen in Music Hall since 2015. And Mozart’s irresistible comedy “The Marriage of Figaro” will round out the mainstage season.

As we have come to enjoy in recent years, there will be several single-night musical events.  In celebration of a new, $6 million gift from the Harry T. Wilks Family Foundation, “Viva Verdi!” will feature some of Verdi’s best-loved operatic music in a Music Hall concert in Springer Auditorium (7:30 p.m. June 25, 2027).  And the popular Studio Sessions of intimate musical evenings curated by the performing artists will continue in two performances in Wilks Studio, July 1 and July 14, both at 8 p.m. in Wilks Studio at Music Hall. More details on those events will be unveiled later.

Performances will run from June 18 through August 1, 2027.

Artistic director Evans Mirageas announced details of the 2027 on July 25 to the Music Hall audience assembled for opening night of Bizet’s “Carmen.”

Said Mirageas in a statement: “During our 2026 season, it was thrilling to see how enthusiastically audiences responded to The Black Opera Project’s first work, Lalovavi,’ an encouraging sign that this endeavor has arrived at just the right time. We continue that momentum next summer by shining a light on an inspiring American icon with the world premiere of ‘John Lewis: Good Trouble.’ Combined with the epic emotions of ‘Turandot,’ the witty charm of ‘The Marriage of Figaro,’ the celebratory spirit of ‘Viva Verdi!,’ and the artist-curated Studio Sessions, we look forward to creating memorable experiences that connect and uplift our community.”

More details:Read More »

Cincinnati Opera receives $6 million gift from Harry T. Wilks Family Foundation

Cincinnati Opera’s production of “Carmen” continues through Aug. 2 in Music Hall. Philip Groshong, photo/Cincinnati Opera

Evans Mirageas, artistic director of Cincinnati Opera, announced at the opening night production of “Carmen” last night in Music Hall that the Harry T. Wilks Family Foundation has made a $6 million gift for a new fund in Cincinnati Opera’s endowment that will ensure artistic excellence for decades to come.

The Harry T. Wilks Family Foundation Fund for Leading Artists “will support world-class voices on this stage” in perpetuity, said Mirageas, whose position is the Harry T. Wilks Artistic Director. Mr. Wilks, who died in 2014, was a Hamilton based attorney and philanthropist.

“Harry loved opera, and served for many years on the Cincinnati Opera Board of Trustees. For decades, he made sure that this opera company could showcase the greatest voices in the world. Tonight, his family is making that vision permanent,” Mirageas said.

Mirageas also announced season repertoire for the 2027 Summer Festival, which will celebrate the gift with a special concert, “Viva Verdi!” showcasing great singers performing the music of one of Mr. Wilks’ favorite composers, Giuseppe Verdi.

Mr. Wilks was also an art collector who founded the Pyramid Hill Sculpture Park in Hamilton, preserving hundreds of acres to become one of the most remarkable outdoor art spaces in the country. He was an alumnus of Miami University and The University of Cincinnati College of Law.

‘Lalovavi’ had two sold-out performances

I’m still thinking about ‘Lalovavi,” the first opera in Cincinnati Opera’s Black Opera Project, which had its world premiere last week, July 9 and 11. The Afrofuturist opera is set in a fantasy world that reimagines Black history and culture, with music by Kevin Day and the libretto by Tifara Brown.(Cincinnati MacDowell Society friends might be interested to know that Day wrote much of his score at the MacDowell colony.)

The creators spoke in a panel discussion with artistic director Evans Mirageas. Left to Right: composer Kevin Day, choreographer Chloe O. Davis, librettist Tifara Brown and conductor Kevin Miller

Besides the artistry that we witnessed onstage, the opera had an overwhelming reception by the audience on the evening I attended. Both performances were sold out, with only a few “limited view” seats available, I was told by officials. Music Hall seats 2,388 in its “opera” configuration. I was extremely impressed by the company’s success in getting out the Black community, which bodes well for the next two operas in this trilogy, coming, respectively, in the next two seasons. This project, which aims to tell uplifting Black American stories, could signal a seminal moment in American opera programming.

Click on the links above to interviews with the creators and my review, both on Cincinnati Business Courier. They are free to read. If you have a problem, please let me know.

Coming soon: Bizet’s “Carmen,” starring J’Nai Bridges in the title role and Matthew White as Don José in four performances in Music Hall: July 25, 29, 31 and Aug. 2. cincinnatiopera.org/carmen for info and tickets.

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Soprano Kathryn Lewek triumphs in Strauss shocker ‘Salome’

Jochanaan (Alfred Walker) is repulsed by Salome’s (Kathryn Lewek) infatuation. Tenor Zach Borichevsky, left, performed the role of Narraboth, captain of the guard. Photos by Philip Groshong are provided by Cincinnati Opera

 

For his opera about the depraved princess Salome who performs the “Dance of the Seven Veils” for Herod in return for the head of John the Baptist on a platter, Richard Strauss wanted “a 16-year-old princess with the voice of an Isolde.”

In her role debut as Salome at Cincinnati Opera on June 18, soprano Kathryn Lewek fit the bill spectacularly with vocal intensity and blazing high notes. She delivered a searing performance, singing with unflagging fervor all the way through her final, lurid moments of necrophilia with the severed head. The audience in Music Hall for the season opener on June 18 was riveted from beginning to end by the production staged by Jose Maria Condemi and conducted by Robert Spano.

“Salome” was last produced by the company in 2000 under then-artistic director Nic Muni. More than 120 years after its premiere, Richard Strauss’ opera “Salome” is still a shocker. The biblical story — which refers to Salome not by name but as the daughter of Herodias — may be found in the New Testament. Jochanaan, the prophet known as John the Baptist, was a prisoner of Herod, the tetrarch of Judea and Salome’s stepfather. It was Oscar Wilde who embellished the story, and Strauss based his 1905 opera on Wilde’s play. Hedwig Lachmann’s German translation of the play forms the libretto, with judicious trims made by Strauss.

The production was from San Diego Opera, which was also staged by Condemi, now a faculty member at the University of Cincinnati College-Conservatory of Music. A single, modernist scenic design (Tim Wallace) served the one-act opera. The palace terrace consisted of large stone pillars and an expansive ramp with steps going down to the floor where the cistern lay.  A large, full moon loomed over the proceedings, and Thomas C. Hase’s effective lighting design followed the drama, sometimes bathing the entire stage in blood red. Lavish costumes (Anita Yavich) fit the period.

An exceptional cast told the story. It was Lewek’s second role debut with Cincinnati Opera’s summer festival after making an impressive debut singing Gilda in Verdi’s “Rigoletto” last year.

Lewek, as Salome, dashed impetuously onstage (coming from Herod’s banquet), and instantly became infatuated with the prisoner in the cistern, Jochanaan. She sang with a voice of beauty throughout her range, easily making Strauss’ difficult vocal leaps and tackling the lower register with clarity. She poured out her feelings in long, rapturous streams of love for Jochanaan’s skin, his hair, his lips, eventually crawling on her belly to grovel at his feet.Read More »