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The Program
March 21, 2027 | 3:30pm
Maltz Performing Arts Center, 1855 Ansel Rd, Cleveland
Tickets Required: $20 advance | $25 door | $10 students
Mozart Requiem
Life Awakens, Life Transcends
BEETHOVEN: Overture to Creatures of Prometheus
MOZART: Masonic Funeral Music
MOZART: Requiem
West Shore Chorale (dir. Michael Lisi)
Soloists TBA
Conducted by Domenico Boyagian
Pre-Concert Event
Get Enlightened! Pre-Concert Lecture
Details coming soon
Co-sponsored by CWRU Dept of Music
The Hype:
Life Awakens, Life Transcends
We open with Beethoven’s whirlwind overture to the Creatures of Prometheus, where stolen fire bestows man’s first breath, but true “life” only emerges with Enlightenment: science, art, music, and human mortality.
And mortality is up next, my friends, as Mozart’s grief-filled Masonic Funeral Music and profound Requiem take us deep into the shadow of death.
SSO and the West Shore Chorale bring the fire, the drama, the terror, the tears, the Tuba Mirum and the perpetual light of Mozart’s emotional masterwork to the Maltz Center, as East meets West in this cross-river collaboration (Cuyahoga, not Styx). Written in Mozart’s final days, it follows a soul’s journey through darkness to eternal life in a masterpiece that transcends death. Life finds a way.
Playlists
The Artists
Celebrated for his expressive artistry, clarity of vision, and dynamic leadership, Maestro Domenico Boyagian has been hailed by The Cleveland Plain Dealer as “a born conductor” and “a conductor for whom the music is the sole point of standing before musicians.” Milwaukee’s Shepherd Express praised his “insightful grasp of style” and his ability to lead “with sensitivity in tempo and phrase.”
Now in his ninth season as Music Director of the Suburban Symphony Orchestra, Boyagian has guided] the ensemble through a vibrant period of growth, highlighted by a complete Beethoven Cycle that culminated in a sold-out Ninth Symphony at Severance Hall to celebrate the orchestra’s 70th anniversary. The 2025–26 season features works by Holst, Grieg, Prokofiev, Saint-Saens, Tchaikovsky, Sibelius, as well as the annual Young Soloist Concerto Competition. A dedicated advocate for education, Boyagian collaborated with pianist Lang Lang on the “101 Pianists” program to inspire young performers.
As Music Director of Cleveland Opera Theater, Boyagian has elevated the company to a leading regional force, conducting productions across the U.S. with companies such as Florentine Opera, Opera Southwest, Florida Grand Opera, Opera North, Opera Delaware, Opera Baltimore, and the Manhattan School of Music. Guest engagements have included the Milwaukee Symphony, Delaware Symphony, Palm Beach Symphony, National Symphony Orchestra of Costa Rica, and the Bulgarian Festival Orchestra.
Born in Bologna, Italy, Boyagian studied at the Bologna Conservatory, Accademia Musicale Chigiana in Siena, and the Cleveland Institute of Music. He has recorded Grieg works with Antonio Pompa-Baldi and the Ohio Philharmonic for Centaur Records, as well as Margaret Brouwer’s Voice of the Lake with Blue Streak Ensemble. His honors include a “Most Distinguished Artist” grant from Cleveland’s Community Partnership for Arts and Culture and recognition as one of the “Top 10 Most Successful Italians Under 40 in the U.S.” by the Italy-America Chamber of Commerce of New York.
Program Notes
Program notes will be available approximately one week before the performance.
Eduard Lalo: Symphonie Espagnole
Notes by violinist Yi-Chuan Li
Edouard Lalo’s Symphonie Espagnole, although directly translated to, “Spanish Symphony”, is considered a violin concerto by today’s standards. It was written in 1874 for violinist Pablo de Sarasate, the composer of Zigeunerweisen. It contains many Spanish themes and motifs throughout, including gypsy-style gestures in the first theme. This piece sparked a period of Spanish themed music, such as Bizet’s opera Carmen. Symphonie Espagnole also had an influence on Tchaikovsky. After Tchaikovsky went through a rough period of his life, his student Iosif Kotek introduced him to Lalo’s Symphonie Espagnole. He enjoyed it so much that he set aside his ongoing compositions to write his violin concerto in D major
Camille Saint-Saens: Cello Concerto No. 1
Notes by cellist Nick Jacques
Saint-Saëns’ first cello concerto is a piece with drama and operatic storytelling. I associate the first movement with a hero finding himself in a storm, followed by expansive themes in both the first and third movements where this character wrestles with doubt. By the time we get to the coda, our hero has come out victorious, signalled by the transition from A minor to A major. My favorite part of the piece is the deep F major theme in the third movement, which reminds me of a wise old man.
Felix Mendelssohn: Piano Concerto No. 1
Notes by pianist Max Tian
Mendelssohn’s First Piano Concerto shifts moods so quickly in the last two movements that it feels like a series of scenes in a film. The Andante, to me, is the warmest part of the piece. It feels like a song shared in a quiet space with the piano just floating over the strings in a calm, singing line. From there, the music does not really stop, since it connects straight into the finale, where the piano suddenly has a sparkling, rapid-fire energy that is flowing rather than heavy
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