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.)
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 »
CCM’s Opera Department mounted a double bill, including Poulenc’s “Les Mamelles de Tirésias,” shown above. Photos by Mark Lyons
In Poulenc’s surreal opera “Les Mamelles de Tirésias,” (The Breasts of Tirésias), Thérèse opened her blouse and two balloons popped out. As her “breasts” floated away, Thérèse, who decided to become a feminist, promptly popped them, grew a beard, changed her name to Tirésias and sang a ravishing waltz.
It was giggly, outrageous and in many ways, timeless.
Jose Maria Condemi, the new Associate Director of Opera at the University of Cincinnati College-Conservatory of Music, made his directorial debut over the weekend with an impressive double bill of Kurt Weill’s “Mahagonny Songspiel” and Francis Poulenc’s “Les Mamelles de Tirésias.”
Smartly staged and featuring a cast of fresh rising-stars and imaginative sets by students Luke Dufilho (Mahagonny) and EJ Goodman (Les Mamelles), it was an enchanting evening of theater. From the steamy, dissolute world of Kurt Weill’s Mahagonny to Poulenc’s surreal fantasy of Zanzibar — where a man could produce 40,049 babies in one day — the audience was alternately riveted and howling with laughter.
Condemi, who is an alumnus of CCM and has an extensive portfolio, joined the faculty in August of 2025. He’s familiar to Cincinnati Opera fans, who saw him stage “Ainadamar,” “Don Giovanni,” “La Traviata,” “Tosca” and “Lucia di Lammermoor.”
In the small orchestra pit, these two jazzy and bubbly scores received spirited readings by CCM musicians, conducted by William Langley, currently resident conductor of the Atlanta Symphony Orchestra, among other titles. He’s a gifted and very busy maestro, and has returned several times to lead productions at his alma mater, CCM, where he earned a Master’s Degree with Mark Gibson.
The cast of Kurt Weill’s “Mahagonny Songspiel”
Kurt Weill and Bertolt Brecht’s “Mahagonny Songspiel” of 1927 is a 30-minute precursor to the full-blown opera, “Rise and Fall of the City of Mahagonny.” It offers a grim, cynical picture of Germany between the wars. I saw the Friday (Feb. 27) performance in CCM’s intimate Cohen Family Studio Theater (CCM has alternate casts).Read More »
Vincent Dubois, titular organist of the Notre-Dame Cathedral in Paris
Hundreds of aficionados of organ music — as well as admirers of the stunning Art Deco Rotunda in Cincinnati Museum Center — braved a dark and stormy night on Oct. 29 to attend the opening concert of the Music in the Museum series. The excellent organist Vincent Dubois, now titular organist of the Notre-Dame Cathedral in Paris, performed a substantial program on the great E.M. Skinner concert organ built in 1929, the year Union Terminal began construction.
The organ is designed in the American Symphonic Organ tradition, able to produce every tone of a symphonic orchestra, and then some. Cincinnati’s E.M. Skinner organ is one of the treasures of the United States.
At one moment, Dubois paused to thank those who have supported the organ, saying, “It’s rare to find this quality of voicing… I enjoyed discovering so many colors and textures. It’s infinite in that instrument.”
Besides his Paris post, Dubois is newly appointed Professor of organ interpretation and improvisation at the Hochschule für Musik (University of Music) in Saarbrücken, Germany. His wide-ranging selections included many by French composers, some rarely heard, which were a treat to hear.
Dubois opened with J.S. Bach’s Passacaglia and Fugue in C Minor, BWV 582. His sound was instantly enthralling, from the deep tones of the repeating bass line (or ground bass) to the wonderful embellishments that unfolded above it. The music in the highest register had a spiritual quality, and you could see that the organist felt every note. The concluding fugue was majestic, and he held its final note at length, allowing the sound to continue ringing in the resonant acoustic of the Rotunda.
Dubois with Kelly Hale conducting behind the organ, and page turner Bert Nelson.
Dubois called upon two collaborators for the next three works: Russell Burge, CCM Professor of Percussion, and Kelly Hale, Professor Emeritus of Opera and Coaching, who conducted the spacially separated duo.
Percussionist Russell Burge was situated against the Rotunda wall, the clearest acoustical spot for the collaboration.
Jean-Philippe Rameau was represented by the dance, “Les sauvages” from Rameau’s 1735 opera-ballet, “Les Indes galantes,” accompanied by marvelous drumming by Burge. The work was inspired by a visit to France by Indigenous American chiefs in 1725.
Dubois then fast-forwarded to 20th-century France with three movements from Francis Poulenc‘s “Suite française,” originally an orchestral suite from his incidental music to a play, “La Reine Margot.” Typical of Poulenc, there were dissonances and witty dialogues between organ and snare drum. The colors of the organ ranged from warm to reedy.
One of the world’s finest young string quartets is right here in Cincinnati. On Aug. 31, the Poiesis String Quartet, graduate string quartet-in-residence at the University of Cincinnati College Conservatory of Music, won the Grand Prize in the prestigious 15th Banff International String Quartet Competition. The prize includes $500,000 CAD in cash, prizes, and career development opportunities, including touring and recording and three-year custom artistic and career development program.
The quartet is currently being mentored at CCM by the Ariel Quartet. Its members are: Sarah Ying Ma on violin, Max Ball on violin, Jasper de Boor on viola, and Drew Dansby on cello. They are graduates of Oberlin College & Conservatory.
Nine international string quartets competed this year, in what is described as “one of the most competitive in the competition’s four-decade history.” The competition reports that competitors travelled to Banff from their home bases in Asia, Europe, and North America, with players hailing from 14 different countries.
The name Poiesis derives from ancient Greek and means “to make.” The ensemble focuses on expanding the quartet repertoire with new works by emerging composers.
Competition jury members include Marie Chilemme, Jonathan Crow, Eugene Drucker, Honggang Li, Milena Pajaro-van de Stadt, Eckart Runge, and David Ying.
The quartet will present their fall recital at 6:45 p.m. Oct. 2 in Werner Recital Hall. Free.
Cincinnati Ballet announced a new music director via social media today. Alyssa Wang will succeed music director emeritus Carmon DeLeone, who served more than 50 years and still conducts the ballet on occasion. She is a “triple threat” — a conductor, composer and violinist. Alyssa is the recipient of the 2024 New Music USA Creator Fund, the 2023 Solti Foundation Career Assistance Award, and the 2022 St. Botolph Emerging Artist Award.
An accomplished violinist, she is the newest member musician of the Boston Chamber Music Society, and has been featured in numerous contemporary recording projects, such as Carlos Simon’s Grammy-nominated album, Requiem for the Enslaved (Decca).
As a composer, she premiered her own violin concerto, Swept Away, with the Chamber Orchestra of Pittsburgh, who commissioned the work, in February 2023. Her latest composition project is a string octet for Boston Chamber Music Society that will premiere in May 2026.
Alyssa earned her bachelor’s degree from Carnegie Mellon University under the tutelage of Andrés Cárdenes, and a master’s degree at the New England Conservatory where she studied with Malcolm Lowe. Read more here.
Jose Maria Condemi
The University of Cincinnati College-Conservatory of Music welcomed two new faculty members to succeed two of the eight who are retiring by the end of this semester.
UC College-Conservatory of Music Dean Pete Jutras has just announced the appointment of JoseMariaCondemi, who earned his Master of Fine Arts degree in direction at CCM, as CCM’s new Associate Professor of Opera. His faculty appointment officially begins on Aug. 15.
“Jose Maria Condemi brings inspiring creative vision to CCM, along with a long and distinguished record of directing at the worlds’ major opera houses. He is no stranger to Cincinnati, and we are thrilled to welcome him to the CCM Opera Department,” said Jutras, in a statement. “I am grateful to our search committee chair Amy Johnson and committee members ThomasHase, KirillKuzmin and KennethShaw for their efforts with this successful search.”
Condemi has been a director and producer of opera and theater of exceptional artistic quality for over two decades, both in the United States and internationally. Upcoming directing engagements include Rigoletto for San Francisco Opera, Tosca for Cincinnati Opera and Alcina for the Trentino Music Festival.
In Cincinnati, you may also recall his work in Ainadamar, Don Giovanni, La Traviata, Tosca and Lucia di Lammermoor for Cincinnati Opera.
He has a long relationship with San Francisco Opera, where he has directed several mainstage productions and two world premieres, and he’s directed at other major opera houses across the country and internationally. Please click here to read more about him.
Brian Hong
In addition, violist Brian Hong is CCM’s new Assistant Professor of Viola. His appointment begins on Aug. 15.
“Brian Hong’s extensive performance experience, chamber music career, and innovative work in the non-profit and community arts sectors will bring great value to CCM’s esteemed String area,” said Dean Jutras. “I am grateful to our search committee chair Rachel Calin and committee members Aik Khai Pung and Catharine Lees for their efforts with this successful search.”
As the violist of the Grammy-nominated Aizuri Quartet from 2023-2025, he premiered major new works on nationally renowned chamber music series and conducted residencies at universities across the United States. He has performed as soloist with many orchestras and has participated in festivals such as Marlboro and the Perlman Music Program. Prior to his CCM appointment, Hong served on the viola and chamber music faculties at Bard College Conservatory of Music.
Hong is a graduate of Juilliard’s Artist Diploma program. He also holds a master’s degree from the Juilliard School, where he was awarded a prestigious Kovner Fellowship. He earned his bachelor’s degree from the New England Conservatory of Music. He’s also a successful music administrator. He is the program manager for the Vital Sounds Initiative of Project: Music Heals Us, a nonprofit dedicated to providing musical education, access and healing to marginalized populations. He is also a co-artistic director of NEXUS Chamber Music Chicago in Illinois, an artist-driven collective of musicians. Read more about him here.
As usual, the spring season is packed with concerts, events and exhibitions. Last weekend, Jaap van Zweden made his first visit to the Cincinnati Symphony Orchestra, and wowed attendees with his interpretation of Mahler’s Sixth. Here’s my review of that concert on April 25.
On Sunday, I visited the new home of Cincinnati Public Radio. It was inspiring to see its halls, airy offices, performance spaces and grounds packed with people and many families enjoying food trucks and instrument petting zoos. Outside, Cincinnati Public Radio President, GM and CEO Rich Eiswerth was directing traffic. Inside, I heard Matthew Swanson lead members of the May Festival Chorus in “Everything’s Coming up Roses,” and indeed, it was.
Also last weekend, I heard a farewell concert on April 26 in Corbett Auditorium at CCM in honor of two CCM faculty members, Distinguished Teaching Professor of Music Theory and Composition Miguel Roig-Francoli and Professor of Voice and Dieterle Chair of Music Karen Lykes, both retiring after careers of some 30 years each.
The opening work was Red River Variations, consisting of a theme penned by Roig-Francoli, followed by eight variations written by his colleagues and current and former students, in his honor. I marveled at the inventive and varied contributions, performed by the CCM Concert Orchestra conducted by its music director Aik Khai Pung. It was fun to see the fine work by this orchestra, which featured in the concertmaster chair Roig-Francoli’s son, Rafael.
And how inspiring it was to hear opera soprano Joélle Harvey return to perform Samuel Barber’s Knoxville: Summer of 1915, in honor of Karen Lykes. Harvey’s reputation has soared since graduating from CCM, with performances on the world’s most important stages, from the Met to Teatro La Fenice. I enjoyed her beauty of phrasing and expressive power. It was a sublime tribute to her teacher.
The evening ended with the orchestra’s performance of Roig-Francoli’s own Sinfonia, “De profundis,” in its North American premiere. Its four well-crafted movements ranged from highly dramatic to light and gleaming with color.
Earlier this year, I enjoyed another farewell performance. Professor of Opera Robin Guarino directed her final production at CCM, Benjamin Britten’s “Midsummer Night’s Dream,” before retiring at the end of this semester. Here’s the review of that enchanting performance.
In fact, eight CCM faculty members, plus one staff member, will be retiring this academic year. I’m assured that searches are currently taking place for their successors.
Here’s the list, with thanks to these superb artist-teachers, and all that they have given to the University of Cincinnati College-Conservatory of Music, their students and the arts community.Read More »
Cristian Macelaru conducting Shostakovich/Photo provided by CSO
Besides great performances in Cincinnati, 2024 was a year of anniversaries, historic firsts, farewells and new beginnings. In some instances, there was news-making connected with these performances. In chronological order:
1) Last February, when he led a thrilling and revelatory performance of Shostakovich’s monumental Symphony No. 11 with the Cincinnati Symphony Orchestra, we didn’t yet know that Cristian Macelaru would be announced as the 14th CSO music director. The conductor riveted listeners in Music Hall when he led Shostakovich’s Symphony No. 11, “The Year 1905.” He moved little as he led Shostakovich’s vast symphonic canvas, but the sheer visceral impact of this performance lingered long afterward. The orchestra’s musicians were impressed. For Macelaru, the feeling was mutual, he said in April, when his appointment was announced. Macelaru returns for his only performances with the CSO this season in February. And in other CSO leadership news, the CSO announced that President and CEO Jonathan Martin will retire Feb. 16. Robert McGrath, the CSO’s chief operating officer, will then step in as acting president and CEO.Read More »
It’s unusual to hear an entire program of music written for the viola. The recital on Sept. 15 in Memorial Hall by violist Milena Pajaro-van de Stadt and pianist Adam Golka was a rare treat.
They opened the Matinee Musicale concert season with an inventive program that included music by two women composers, born 100 years apart. Pajaro-van de Stadt called it “a love letter to the viola.”
Brahms’ Sonata Op. 120, No. 2 in E-flat Major was the perfect introduction to this duo. (The work was originally written for clarinet and piano.) I was instantly struck by the rich, compelling tone of Pajaro-van de Stadt’s instrument. The warmth was palpable in her phrasing, and she took her time to allow the music to breathe in this wonderful, autumnal work.Read More »
The University of Cincinnati College-Conservatory of Music (CCM) and the Cincinnati Symphony Orchestra (CSO) have selected five accomplished musicians for their next class of CSO/CCM Diversity Fellows.
The performance fellowship program was launched in 2015 out of a desire to help American orchestras be more inclusive and to better represent the communities they serve. The mission is to eliminate obstacles that can prevent musicians of color from achieving their full potential. It is funded with a grant from The Andrew W. Mellon Foundation.
Through the collaborative program, CCM and the CSO provide graduate level academic study
and professional development and performance opportunities for the Diversity Fellows.
“The Cincinnati Symphony Orchestra exists to serve our community. Our entire community,”
said CSO President Jonathan Martin. “But how can we authentically serve our entire community
if a significant part of that community doesn’t see themselves reflected in our organization? The
CSO/CCM Diversity Fellowship is one of many steps we are taking to address this disparity. By
providing professional opportunities to a more diverse group of outstanding musicians, we hope
to cultivate—and begin changing —the next generation of American orchestral musicians.”
Kasey Shao, 16, a rising star pianist and a junior at Walnut Hills High School, is a finalist in the Hilton Head International Piano Competition. You can hear her perform the Tchaikovsky Piano Concerto No. 1 for the Final Round with the Hilton Head Symphony Orchestra, conducted by John Morris Russell at 7 p.m. tonight (March 14).
Kasey studies with Ran Dank at the University of Cincinnati College-Conservatory of Music.
The last time I interviewed her, she was preparing for the Van Cliburn International Junior Piano Competition. You can read about her previous performances and competitions in that article.
Brahms’ Sonata Op. 120, No. 2 in E-flat Major was the perfect introduction to this duo. (The work was originally written for clarinet and piano.) I was instantly struck by the rich, compelling tone of Pajaro-van de Stadt’s instrument. The warmth was palpable in her phrasing, and she took her time to allow the music to breathe in this wonderful, autumnal work.
