Review: Cleveland Orchestra gathers again at Blossom for specially meaningful ‘American Celebration’
Brett Mitchell leads The Cleveland Orchestra at Blossom Music Center on July 3, 2021, marking the orchestra’s first public performance since March 2020. (Photo by Roger Mastroianni)
CUYAHOGA FALLS, Ohio — Brett Mitchell led The Cleveland Orchestra in the opening weekend of the 2021 Blossom Music Festival on July 3 and 4, marking the orchestra’s first public performances since March 2020. The following are excerpts from Cleveland.com’s review of Saturday evening’s concert:
Never before has the phrase “Blossom Music Festival” rung so true. On this occasion, there was indeed something to celebrate. The sense of post-pandemic release was palpable, and the first sounds of the full orchestra surely brought a lump to many a throat. By night’s end, before a fireworks display, the official attendance was an estimated 11,600.
The music reflected the festive mood, in a novel way. Even as it marked the nation’s 245th birthday, the program, which kicked off with a snappy account of Bernstein’s “Candide” Overture and included works by three African-Americans, also reflected society more broadly and inclusively than most Cleveland Orchestra concerts. This was a celebration of America and its music as they are, not as one group of people once imagined them to be.
The earth-shaking cannons that augmented Tchaikovsky’s “1812” Overture certainly got their point across, and there’s no beating Sousa’s “The Stars and Stripes Forever,” but to this listener, the most effective work of the night was “Soul of Remembrance,” a 1993 work by Mary Watkins steeped in the historically resilient African-American spirit.
Brett Mitchell, the orchestra’s former associate conductor, preceded the lyrical, slow-burning work with a moment of silence for the victims of COVID-19 before leading a tender but powerfully emotional reading in which the harp was a vital presence.
Another welcome piece of non-standard fare was the 1934 Concerto in One Movement by another African-American, Florence Price. Cleveland-trained pianist Michelle Cann, a champion of Price’s music, handled the recently rediscovered score with panache, treating its three sections to animated, compelling performances.
A third African-American composer, Adolphus Hailstork, kicked off the second half with “An American Fanfare,” a solemn, brass-intensive work strongly reminiscent of Copland, whose Suite from “Appalachian Spring” followed on its heels. No doubt parts of the often-delicate Suite were lost on the lawn, but in the pavilion, every measure of this well-known score, up to and including “Simple Gifts,” sparkled as if the orchestra and the audience were encountering it for the first time.
Truly, it was an Independence Day concert like no other by the Cleveland Orchestra. There were fireworks, funnel cakes, and patriotic classics, but there was also real emotion, musical depth, and the introduction of new possibilities. The Cleveland Orchestra is back and in some respects may be better than ever.
To read the complete review, please click here.
Cleveland 19 News (CBS) has also published a brief story about the event: Cleveland Orchestra performs in person for first time in more than a year at Blossom.
Photographs by Roger Mastroianni
