Reviews: Brett Mitchell leads The Cleveland Orchestra's return to Blossom
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 — Several additional media outlets have published reviews of Brett Mitchell’s opening weekend performances of the 2021 Blossom Music Festival with The Cleveland Orchestra, marking the orchestra’s first public performances since March 2020. (See below or click here to read the reviews from Cleveland.com and ClevelandClassical.com.)
Conductor Brett Mitchell, who has a long history with the Cleveland Orchestra as assistant, associate and guest conductor, had started the concert with a rather laid-back version of Leonard Bernstein’s overture to Candide, perhaps spaciously paced to allow the work’s sparkling lines to register in the reverberant acoustic of the Blossom Music Center’s pavilion, made even more resonant by the socially-distanced seating of audience members (though the lawn was packed with what must have been a record crowd for an orchestra concert).
Mary J. Watkins’s ‘Soul of Remembrance’ was another of the three works on the program by African-American composers. It is a solemn balance of spiritual-inspired lyricism over a steadily tolling slow march, and is one of the sections of Watkins’s Five Movements of Color. Mitchell introduced the piece with a moment of silence and dedicated it to the memory of those lost in the pandemic.
The second half of the concert opened with Adolphus Hailstork’s ‘An American Fanfare’, his response to Aaron Copland’s ‘Fanfare for the Common Man’. Though not as interesting as some of Hailstork’s larger orchestral works, it was a great showpiece for the Cleveland Orchestra brass, which as a section is the strongest it has ever been.
Copland’s Appalachian Spring suite was given a sure-handed performance under Mitchell’s baton, and even the 1812 Overture and ‘The Stars and Stripes Forever’ were played passionately in a concert where the musicians were clearly delighted to be on stage, and the listeners were overjoyed to have them there once again.
The official program, conducted by Brett Mitchell, was an eclectic mix drawn from various traditions. It began with a spirited rendition of the overture to Leonard Bernstein’s Candide. One might argue that the musical — based on Voltaire’s cynical take on human nature — had nothing to do with July 4th, but that one would not be me because it’s a favorite piece so who cares?
This was followed by works by under-celebrated African American composers. The first was Mary D. Watkins’ meditative “Soul of Remembrance” from Five Movements in Color. Next came Concerto in One Movement by the better-known Florence Price, with a fine and dramatic presentation by pianist Michelle Cann. The last work was Adolphus Hailstork’s “An American Fanfare.” One hopes works by these composers will continue to be heard in coming seasons.
PHOTOGRAPHS BY ROGER MASTROIANNI
