CCM Philharmonia’s “Midlife Crisis” Concert: A Strauss & Brahms Triumph

The University of Cincinnati College-Conservatory of Music (CCM) Philharmonia delivered a compelling performance on February 20, 2026, eschewing the traditional orchestral concert format for a bold pairing of Richard Strauss’ “Don Quixote” and Johannes Brahms’ “Symphony No. 4 in E minor.” The concert, held in Corbett Auditorium, was described as a “high-end buffet” of symphonic repertoire, demanding both technical precision and emotional depth from the ensemble.

The program’s thematic core, “Midlife Crisis,” explored the complexities of age, identity, and artistic reinvention through the lens of two masterworks. Strauss’ “Don Quixote,” inspired by Miguel de Cervantes’ novel, portrays a man lost in self-deception, while Brahms’ final symphony reflects the composer’s own turbulent life and a sense of finality. This juxtaposition offered a unique and thought-provoking experience for the audience.

Adding to the concert’s prestige were guest artists Rebecca Barnes, viola, and Jonathan Lee, cello, both CCM alumni. Lee, currently principal cellist with the Dayton Philharmonic, embodied the character of Don Quixote, while Barnes, a violist with the Cincinnati Symphony Orchestra, portrayed his loyal squire, Sancho Panza. Their performances were lauded for their nuance and technical skill.

Strauss’ “Don Quixote,” a sinfonia concertante, allows the solo instruments to narrate the story. Lee’s interpretation of Quixote was noted for its “controlled sentimentality,” delivering a commanding presence without relying on excessive bravado. Barnes’ portrayal of Sancho Panza was equally impressive, bringing humor and charm to the role. The orchestra, under the direction of Mark Gibson, skillfully navigated the episodic nature of the piece, capturing each narrative moment with clarity and precision.

The performance of Brahms’ “Symphony No. 4 in E minor” showcased the Philharmonia’s ability to handle complex orchestral textures and emotional intensity. Gibson’s conducting was praised for maintaining a strong pulse and navigating the symphony’s intricate structure. The string section, in particular, delivered a powerful and nuanced performance, tackling the challenging passages with “verve.”

Soloists within the orchestra also shone. Concertmaster Riki Nagai’s solos complemented Lee’s performance seamlessly, while contributions from clarinetist Joaquin Chavez and percussionist Maddie Adams added depth and color to the overall sound. The performance highlighted the talent and dedication of the CCM students, providing a platform for them to showcase their skills alongside established professionals.

The concert’s success wasn’t merely technical. it was a testament to the orchestra’s ability to connect with the emotional core of the music. The program notes highlighted the parallels between the fictional hero of Cervantes’ novel and the musical hero of Brahms, inviting the audience to contemplate the challenges and triumphs of navigating life’s transitions. The performance of Brahms’ symphony, described as “turbulent but contained,” resonated with a sense of both struggle and acceptance.

The concert also offered an intermission interview with Gibson, Barnes, and Lee, providing audience members with insights into their artistic processes and experiences. For those unable to attend in person, a livestream was available on CCM’s website and YouTube channel, expanding the concert’s reach and accessibility.

The “Midlife Crisis” concert demonstrated the CCM Philharmonia’s commitment to ambitious programming and high-quality performance. It was a rare opportunity to experience two monumental works of the symphonic repertoire in a single evening, and a showcase for the exceptional talent of both the orchestra and its guest artists. The performance sets a high bar for future concerts and solidifies the Philharmonia’s position as a leading ensemble in the region.