Cleveland Museum of Art: (My Last) Solstice

Yesterday was an interesting day -- starting in Minneapolis where my original flight was delayed to the point where I literally had a United Airlines employee running with me through the airport to a new gate, where I was then dragged down the jetway for a new flight just before departure and told to take any available seat so that I wouldn't miss my onward connection to Cleveland from Chicago. I'm very thankful for that agent.

In Chicago our flight to Cleveland was delayed because, according to the captain's announcement -- I kid you not, "The airplane was plugged in to electrical power and the outlet broke when they unplugged it".

I made it to Cleveland collected my bag and went speeding towards Solstice at the Cleveland Museum of Art.

While I was not in the best shape when I made it to Solstice I was looking forward to it, hoping that some lessons had been learned from last year. I've attended each of the Solstice Parties since the first one in 2009.

The 2009 party was fantastic; the 2010 party was even better, 2011 was about as good as the previous years. 2012 was lousy. 2013 will be my last. Rather than boring you with a list, I can point you to the post from 2012 and say that it was about the same.

Primary objection holds true -- there was essentially no discernible "art" component to this years festival -- even less so than last year as neither Rachel nor I could find a photobooth much less any of the various art activities that had been staples of pervious years. Performing artists (aside from a few balloon creations) were noticeably missing.

But what made 2013 worse than previous years was the sheer level of noise. The volume in the atrium was so high that you couldn't carry on a conversation with friends 6 inches away -- and if you tried to find solace (or just peruse the art) in the new North galleries -- you would be blown away each time someone had the misfortune of passing by the motion activated doors.

It also seemed this year that the number of obnoxiously drunk people was through the roof. While alcohol has always been fairly free flowing, and there are usually very "happy" people, it seemed like more people were drinking to excess

The result continues to feel not like an event highlighting, or even supporting, the Cleveland Museum of Art, but rather a completely unrelated music event that just so happens to be taking place at the Cleveland Museum of Art.

Based on my later arrival, rather than dealing with parking I had valeted my car at Tudor Arms Hotel (a DoubleTree by Hilton property on Carnegie at MLK I've been curious about since it opened about a year ago) and at the end of the night Rachel and I walked back over and enjoyed an "in town" vacation and a leisurely start to a Sunday. That part was at least enjoyable.

Solstice, however, just wasn't enjoyable. At all.

Lincoln

A Week In the Life of SkyWest Ship 707 (Or: I'm not Dead Yet)

Ok, so this has been a particularly blog-free month: Not only because the Cleveland Orchestra is on hiatus until the beginning of July but also because I'm at the tail end of one of my longest stretches of "On the Road" in my career:

The month started with a week in Northern California; I came back to a day in the office before heading to the Mayo Clinic in Minnesota, I came back from Minnesota for the weekend and to take care of a local client at the beginning of this week before heading back to the state of 10,000 lakes for a different project at Mayo.

One of the things I enjoy doing is tracking my flights via a website called Flight Memory* (the public version of my Flight Memory can be found at http://my.flightmemory.com/lincolnjkc). In addition to tracking origin and destination, Flight Memory is also handy for tracking specific aircraft -- for example, I've ridden on ExpressJet (Continental/United Express) ship N11121 as well as Continental/United 737-800 ship N12238 and 757-300 ship N74856 three times each -- the latter, coincidentally, flew me home on the same red-eye LAX-CLE flight 3 Christmases in a row.

Another eighteen (yes, 18!) aircraft I've had the pleasure of riding twice.

SkyWest CRJ-700 ship #707 (N707SK) is the latest addition to that list of 18, but in a freak coincidence it happened to fly the CLE-ORD (Cleveland/Hopkins International Airport to Chicago/O'Hare) portion of both of Cleveland to Minneapolis trips (CLE-ORD-MSP) -- both flown as flight UA5169, and I was in first class seat 2A on both of those flights.

So I thought it would be interesting to see where Ship 707 spent the time between flying me to O'Hare the first time on Tuesday, June 11th and the second time on Wednesday, June 19th.

So... After dropping me off in Chicago it went South to San Antoino, TX (SAT), before making it West to United's San Francisco (SFO) hub and bouncing up and down the West Coast. It left the West Coast for Houston Intercontinental (IAH) via Dallas/Fort Worth (DFW) and then bounced around the Midwest, before deciding it would like the Denver (DEN) better, bouncing around between DEN and IAH for a few days, it headed back West (Go West, Young Airplane, Go West!) and then went East, hitting Washington/Dulles (IAD) via SAT, then leaving the country for the first time, hitting Toronto (YVR), then ORD, back to Cleveland, and the second time it would fly me from Cleveland to Chicago in the week.

For the actual routings...
June 11th: CLE-ORD-SAT-SFO-SAN-SFO
June 12th: SFO-PHX-SFO-EUG-SFO-SEA-LAX-DFW
June 13th: DFW-IAH-OKC-IAH-DAL-IAH-CLE-DEN-ASE
June 14th: ASE-DEN-PHX-LAX-DFW-ORD-SLC
June 15th: SLC-DEN-ASE-DEN-CLE-ORD-ASE
June 16th: ASE-ORD-MSP-ORD-SLC
June 17th: SLC-SFO-SNA-SFO-LAS-LAX-SMF-LAX-AUS
June 18th: AUS-SFO-SAT-IAD-YYZ-ORD-CLE-ORD

In that time, there were 51 unique flights, totaling 32,892 nautical miles of flight time-- in 7 days.

Or for the map:
OR for more detail, (including a larger map) here's the routing at Great Circle Mapper: Here
Lincoln
* - The information for FlightMemory is extremely accurate (all flights represented with times to the minute) for my professional carrer since roughly 2005. Before 2005 only one flight per route is represented. So for example, I flew from SAN to FAT countless times as a youth, yet I only have one of those entered.

Theater Ninjas: Telephone

My schedule of late* has contributed to a distinct lack of theatre in my life of late. Tonight Rachel and I traveled across the bridge to the Ohio City Masonic Temple to attend Theatre Ninjas' production of Ariana Reines play Telephone.

The common  thread linking each of the Theater Ninjas  productions that I've attended -- as far back as 2007-- is that they are anything but conventional -- unique venues, unconventional story telling and unusual stagings.

Telephone (Thursdays, Fridays, Saturdays, and Mondays through June 15th) continues that tradition although it would seem to fall on the "more dense" end of the spectrum.

The three well-defined acts span about 90 minutes with no intermission, but rather than pieces of the same whole they strike as three independent wholes, and Jaime Bouvier's Director's Note alludes to it being a "...forced mishmash of ideas and stories about the telephone as a synecdoche of all communications technology" (bonus points for being the first director's note that warranted use of dictionary.com for synecdoche).

The first act, featuring Ryan Lucas as Bell and Ray Caspio as Watson, offered the dynamic interaction between the two inventors, the evolution of communication, and the relationships between two individuals and the evolution of understanding as communication technology was introduced, and the subtle nuances in those relationships and the difference between "come here, I want you" and "come here, I need you".

The second act, with Holly Holsinger alone on and around the stage as Miss St, a woman trapped in her own thoughts an struggling with uniqueness and interruption.

Rachel and I both struggled with the third act -- featuring all three artists -- for me I think I spent so much time trying to link it with the first two acts that I was distracted from appreciating the act itself and would have been better off enjoying the moment.

Something that I hadn't considered but Rachel pointed out as we were retreating to the East Side was that the nonsequeter nature of much of the script must have made the show that much more challenging for the three actors to learn -- and the fact that I hadn't given pause to consider that demonstrated the talent of the trio.

Telephone also features generous but not excessive use of audio and video technology -- both audio and video -- to both propel the acts and to illustrate the prevalence of communication technology in the modern world.

Lincoln
*- And, to be perfectly honest, the inertia caused by the inconvenience of doing business with Playhouse Square (and The Cleveland Play House now in residency there) has not helped either.

Doug Katz's Katz Club Diner Misses the Mark

When I first moved into my home the infamous Diner Cars on Lee road sat vacant. A few years ago Clyde's Bistro and Barroom [see my post here] -- owned by the eponymous Clyde Mart. It was generally excellent, and Mr. Mart was a fantastic host but closed after a bit more than a year. Immediately succeeding was Favor Bistro -- a concept that Rachel and I tried once (unknowingly -- the sign outside was still of Clyde's) and "never again" (Service was less than stellar, the menu was questionable, and, well I'm a picky eater and to sum it up... alligator was on the menu). Favor deservedly closed after a short run and the space has stood vacant since.

Thus when I learned that restaurateur Doug Katz was taking over the space -- and planning a return to the diner concept I was excited and looking forward to once again having an Americanesque food establishment a short walk down the street from my house. Rachel suggested dining for my birthday about two weeks ago, but they had not yet opened.

Opening date having passed, tonight Rachel and I walked over figuring that we'd try Mr. Katz's new endeavor. The short version: The staff was friendly and competent, the food was reasonably good, but the concept execution was beyond disappointing.

Reservationless, we were met with a 30 minute wait (estimated at 15-20), but with nowhere to really lean, much less sit in the foyer (there was precisely one chair available) to pass the time it felt much longer.

Having been seated, Rachel and I both decided to order sodas -- Diet Coke for her, Coke for me. Under the heading of "Soda Fountain" on the menu, imagine our surprise when a glass bottle of (real sugar) Coke and a can of Diet Coke were brought to our table--decidedly not Fountain, and considering that I'm not a fan of "real sugar" Coke [it tends to give me headaches] had there been any warning I may have tried something else. Imagine our surprise when Rachel's request for a refill on her beverage brought with it an unannounced doubling of the price on the check (really $2.00 per 12oz can? Hotel vending machines don't even stick it to you that badly and they aren't making margin on food). I'm honestly not sure which I'm more surprised by -- that it's labeled as a soda fountain but its not soa from a fountain, or the pricing structure.

Walking back to my place after, Rachel and I discussed the evening and the best conclusion we can come to was a "sit-down restaurant" wrapped in a "diner" theme, with above-market pricing, and adequate food -- but food the didin't deserve the pricing.

Service speed was also severely disappointing -- for a "diner" a 20+ minute wait for food (after the 30+ seating time) is not what either of us expected, and at least one other table was becoming visibly agitated.

I had the "Creamy Mac and Cheese", covered in breading, and served in a mini crock it was good -- but the portion size didn't create value for the menu price. More troubling, Rachel tried the "Diner Cheeseburger and Paprika Onions" -- found under the category of "Sandwiches" with the notation "All sandwiches served with choice of fries or chips and Dr. Katz's pickle".

Well -- the food Rachel was actually served was good ("nice bun, good fries") but tiny ("it looks like a single slider" both of us commented nearly simultaneously). More notable, however, was what Rachel wasn't served:  Both "Dr. Katz's Pickle" and the Paprika Onions explicitly specified on the menu were absent without leave or explanation. Also missing were any semblance of other burger staples -- like tomato, onion (paprika or otherwise) or even lettuce: Essentially a thin 3" diameter patty with American cheese, ketchup, and a bun. Period. For $11. Fundamentally the same thing -- with faster service -- can be found at Wendy's for about $4 including the drink.

The service wasn't worth the price or the wait, the food wasn't worth the price or the wait, and the ambience [including an obnoxiously loud table behind us, seemingly related to Mr. Katz] certainly wasn't worth either.

Maybe Rachel and I will try again in a few weeks but given the premium pricing on mediocre execution, it will probably be a while.

Lincoln

Cleveland Orchestra: Honeck Conducts Tchaikovsky's Fifth

Martinsson: Open Mind
Beethoven: Piano Concerto No. 3 in C minor, Op. 37 (Lars Vogt, piano)
Tchaikovsky: Symphony No. 5 in E minor, Op. 64
Manfred Honeck, Conductor

Last weekend, Severance Hall played host to Case Western Reserve University graduation ceremonies; tonight -- as the last concert in The Cleveland Orchestra's 2012-13 Severance Hall Season -- seemed like the last day of school before Summer Vacation as ushers and frequent patrons exchanged calls of "Enjoy your summer", "Are you doing anything fun?", and "What will you do with all of your free time".

The Orchestra did not disappoint and during one of the ovations of the season, a gentleman in a nearby box could be heard to comment "[Honeck] really pulled everything out of the Orchestra". And he did.

Rolf Martinsson's Open Mind was a delightful 10-minute overture to the concert, starting with a bold and overtly cinematic punch, with explosions of musical energy, a gentle romantic interlude and the mystery of a dark dripping cave.

Beethoven's third piano concerto was a well balanced endeavor between pianist and orchestra, with the long orchestral introduction giving way to the pianists, taking up the music as if old friends conversing and occasionally completing the others sentences. The slow second movement was beautifully solemn and introspective and my favorite from the piece (I'll admit that the third didn't really hold my attention, though I have nothing against it).

The program concluded with Tchaikovsky's Fifth Symphony, another beautiful four movement piece, though the third movement was undoubtedly my favorite with the waltz -- a gossamer-like piece where the orchestra, lead by the strings, just gracefully fluttered in midair before turning into an orchestral battle cry full of weighty energy.

See you at Blossom...

Lincoln

Cleveland Museum of Art: Art Crawl II

Almost exactly two years ago, the Cleveland Museum of Art hosted it's first Art Crawl -- still one of the most interesting events I've attended.

Tonight, Art Crawl Mark II was hosted after hours at the Cleveland Museum of Art. Though the Museum closed at 5:00, the doors reopened at 6:00 for eighty invited guests at the Circles donor levels and above. Divided into intimate groups of about twenty, we had four stops, each lead by a curator or conservator and paired with creative h'dourves and wine.

All four stops were wonderful and really demonstrated both  the passion and personality of CMA's staff. While it's easy to be intimidated by the academic aspects of art but the passion and enthusiasim is contageous.

Stop 1, Reto Thuring, Associate Curator of Contemporary Art with Janet Cardiff's Forty Part Motet

Until a couple weeks ago I can say I honestly had no idea who Janet Cardiff was -- until I got stuck at O'Hare with her when United decided to let our flight to Cleveland leave despite knowing our (different) arriving flights were only slightly delayed and arriving at the gate while the aircraft was still there. (No I'm not bitter, United).  Hearing the artist describe her work I wasn't sure what to expect, and to be honest based on other AV installations I was a little skeptical. Before tonight I had not experienced the work.

Reto provided some background on the artist and the work standing outside the 1916 building in the Atrium -- while occasionally the parting doors would let gasps of choral voices escape. Introduction complete we entered the 1916 building to a chorus of voices -- and the combination of voices and the imagery of the art displayed in the gallery was a powerful, almost religious experience much as if walking into an active cathedral. If you find the right pace in the room it is as if you are in the middle of a choir.

I highly recommend visiting the work (in a 1916-building level 2 gallery) before it disappears in early June.

Stop 2, Sona Rhie Quintanilla, Curator of Indian and Southeast Asian Art with the late 1400s Mandala of Vajradakini

Another relatively new curator to the Museum, Ms. Quintanilla provided  great insight into the Mandala of Vajradakini, currently in Gallery One's focus area just off the main entrance to the museum. Extending beond the surface artistic elements of the work I thought the discussion on Tantra, Yoga reincarnation and Enlightenment -- to be very enlightening (pun not intended).

Stop 3, Louise W. Mackie, Curator of Textiles & Islamic Art with Afruz Amighi's His Lantern.

A piece that I've walked by several times since the Islamic galleries opened and thought was interesting, Ms. Mackie's explanation of the piece -- a hanging woven polyethylene piece with projected light creating shadows -- brought an entirely new level of understanding to the piece and the artist. Connecting the symbols in the art to classic counterparts, such as a nearby prayer niche as well as subtle but more modern political statement -- keys echoing those worn in a war brought new understandings to the piece. Ms. Mackie's enthusiasm for the piece and her description of meeting the artist and artist's execution (hand cut with a hot metal knife) was also infectious.

Stop 4, Moyna Stanton, Conservator of Paper with Antonio del Pollaiuolo's Battle of the Nudes

The last stop was certainly not least -- and I'm not only saying that because paper conservation is an area of particular interest for Rachel -- Ms. Stanton's wonderfully in depth look at the history of Battle of the Nudes was a crash course in print making, differences between "states" in prints, the technique Antonio del Pollaiuolo's work, and the history of repairs to the piece and what has been filled in.

Like a good television drama she was really getting rolling and while I was on the edge of my seat (looking forward to hearing more about the work, particularly the photomechnical infill in one corner) the time was up and we had to move on.

The evening concluded with a light reception and quick remarks from museum director David Franklin, a nice way to wind down and chat with other patrons.

I can't wait for the next one -- and I really hope it will be less than two years this time.

Lincoln

Heights Arts: Schubertiade (House Concert/Close Encounters)

Schubert: Sonata in D Major for violin and piano, D.384^*
Schubert: Sonata in G Minor for violin and piano, D.408^%
Schubert: Der Hirt auf Felsen (The Shepherd on the Rock)^¹²
Schubert: String Quartet in G Majorª
At the Koelz Residence, Cleveland Heights
^- Rafael Sorka, piano; *- Isabel Trautwein, violin; %- Alicia Koelz, violin; ¹- Jung Oh, soprano; ²-Robert Woolfrey, clarinet; ª- The Omni Quartet (Jung-Min Amy Lee, Alicia Kolez, violins; Joanna Patterson, viola; Tanya Ell, cello)

It would be horribly neglectful to not note that tonight's concert -- the last of the Heights Arts 2012-13 Close Encounters house concert season -- also marks the last for Heights Arts founding Executive Director Peggy Spaeth before she retires July 2nd after 13 years of dedicated service. (And just to reiterate my standard disclosure: I do serve on the Heights Arts board)

Tonight's concert was our first expedition to the beautiful home of Ms. Kolez and her husband. While not Ms. Koelz's first performance with Height Arts, I believe the first time the host of a concert has also performed.

An all-Schubert event featuring six members of The Cleveland Orchestra alongside two other very talented musicians the music and company was even more delightful than expected -- and that bar is high. All four pieces on the program were passionately played and a joy to hear, although I didn't really attach strong imagery to any of the pieces -- the way I most effectively communicate about music.

Thus, I cannot say that I enjoyed any of the pieces any more or less than any other on the program. The first two pieces -- both violin-and-piano  sonatas -- were lovely and left me to just close my eyes and enjoy the beauty of music for a large swath of both pieces. The inner movement of the Sonata in D was lovely, while the first movement reminded me of the emotional release of crying.

Der Hirt auf dem Felsen with singer Jung Oh and clarinetist Robert Woolfrey joining Rafael Sorka changed things up with Ms. Oh and Mr. Woolfrey's playing faithfully echoing the sentiments of the lyrics -- from the brighter beginning to the sadness and grief-stricken middle.

After an intermission, gears shifted completely with the String Quartet in G Major, D.877 where despite an extended tuning necessitated from Cleveland's indecisive Is-it-Summer-or-Winter weather (I'm glad it's not just me) the passionate playing made it a memorable piece with finely textured drops into darkness and emergences into brightness. Adding interest to the piece were rapid-fire tremors of notes executed with precision.

Clevelanders are incredibly lucky to have access to this level of musicianship in these incredibly intimate settings

I'm already looking forward to the next season...

Lincoln