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Friday, February 23, 2018
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 Recent Reviews
CHAMBER
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
RECITAL
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
CHAMBER
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
SYMPHONY
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
CHAMBER
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
RECITAL
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
CHAMBER
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
RECITAL
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
CHAMBER
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
SYMPHONY
MONUMENTAL NIELSEN SYMPHONY CAPS SO CO PHIL CONCERT AT SR HS
by Terry McNeill
Saturday, January 27, 2018
Turning again away from conventional repertoire, the Sonoma County Philharmonic programmed Jan. 27 three works in what were local debut performances in Santa Rosa High School’s Performing Arts Center. Nielsen’s Fourth Symphony, Op. 29, called “Inextinguishable,” closed the program with an extravaga...
Local Concerts  
RECITAL REVIEW
Mastercard Performance Series / Sunday, February 18, 2018
Dorothea Röschmann, soprano; Malcolm Martineau, piano

Malcolm Martineau and Dorothea Röschmann Feb. 18 in Weill Hall (J. McNeill photo)

SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL

by Terry McNeill
Sunday, February 18, 2018

Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience.

Dorothea Röschmann’s Feb. 18 recital from the same stage was sharply different, though the respective pianists (Helmut Höll and Malcolm Martineau) were uniformly excellent. The German soprano said not a word to the 250 in Weill, sang only in her native language, and with Mr. Martineau selected a program short on easy charm and long on somber and intense artistry.

Schubert wrote most of his Mignon Lieder during his final decade, and the stage was set for an afternoon of engaging but often melancholic lyricism. The four works, with an attached “Nachtstücke,” were sung with exemplary diction and palpable sadness. Only the second (“So last mich scheinen”) had much light with its simple piano part, and the third (“Nuf wer die Sehnsucht kennt”) with the soprano’s effortless drop of two octaves were out of character. The finale (“Kennst du das land?”) was sung in a faster tempo with a big final note.

“Nachstücke” (D. 672) was also somber but was sung beautifully, beginning with a delicate piano prelude and following graded arpeggios, and ending with Ms. Röschmann’s accurate attacks and handling the modulations with just the slightest use of ritards.

Mahler’s Rückert Lieder closed the first half, a group of five songs recounting bucolic suffering. Many singers begin with “Ich atmet’ einen linden Duft,” but Ms. Röschmann made it the second song, and with it the “real” Mahler was gloriously heard. So much of the music echoes the contemporary Kindertotenlieder cycle, and the singer gave each a dose of mystery and longing, with “Um Mitternacht” generating the first sonic majesty of the recital. The many descending piano lines captured the mystery of the poetry. The “Blicke mir nicht in die Lieder” was performed with references to the composer’s less heavy Fourth Symphony, and the music in the final (“Ich Bin der Welt”) was slowly performed, an anguished lament and a sad journey.

This haunting Mahler finale was carefully sung, provoking a far off vision, with the pianist able to terrace soft dynamics and Ms. Röschmann nailing a soaring high note that quietly broadened into a long pensive postlude. This was perhaps the recital’s highlight.

Schumann’s rarely performed Marian Stuarda Lieder opened the second half, and though beautifully sung it passed without the emotional heft of the previous Mahler and the Wagner to come. The harmonies were echt Schumann and the fourth and fifth songs the most convincing – “Abschied” (a complicated song, with many small soprano touches) and the declamatory operatic drama of “Gebet.”

Schumann’s short cycle was swept aside in the concert’s concluding Wesendonck Lieder, Wagner’s passionate five-part grouping composed in 1857. Ms. Röschmann’s operatic credentials immediately were on display in “Der Engel,” a stunning ray of vocal sunshine after so much mournful musical travail. The slow tempos were perfect gauged, the big climaxes never forced or shrill. This continued in “Stehe Still!” and the Tristan Prelude-themed “Im Treibhaus.” The soprano’s low notes over a piano tremolo in the latter were richly hued, and the constantly returning theme was transfixing in a haunting ensemble. Mr. Martineau never covered the singer, and his subtle accents in major-minor key changes were ever persuasive.

In response to a standing ovation one encore was offered, Liszt’s short “Es Mus Ein Wunderbares Sein” (a wonderous rapture must it be). As all through this recital, it was sung with consummate mastery, including a novel long pause before the a tempo marking (Vom ersten kuss). Praise can go no higher.

The Green Music Center producers provided extensive notes and translations, the house lights were kept up, and with the late afternoon window luminosity people could easily follow the printed poetry.

Events Calendar

RECITAL
Concerts Grand House Recitals
Saturday, February 24, 2018
4:00 PM - Santa Roa
Nancy Lee Harper, piano
Chopin: Fragoso: Nottunro; Chopin: Four Ballades (Op. 23, 38, 47, 52); Debussy TBA Recital sold out...
Details

CHAMBER
Mastercard Performance Series
Sunday, February 25, 2018
3:00 PM - Rohnert Park
Tackács Quartet. Edward Dusinberre and Károly Schranz, violin; Geraldine Walther, viola; András Fejé
Webern: Langsamer Satz for String Quartet; Dohnanyi: Piano Quintet No. 1; Beethoven: String Quartet in C-Sharp Minor, Op. 131...
Details

OTHER
Mythica Foundation for the Arts
Monday, February 26, 2018
10:30 AM - Petaluma
Kayleen Asbo, lecturer
Music, Myth and Gustav Klimt. Theseus, Ariadne and the Minotaur ...
Details

CHAMBER
Mastercard Performance Series
Friday, March 02, 2018
7:30 PM - Rohnert Park
Anne-Sophie Mutter, violin; Lambert Orkis, piano
Brahms: Sonatensatz (Scherzo) from the F.A.E. Sonata, WoO 2, and A Major Sonata, Op. 100; Bach: Partita No. 2 in D Minor, BWV 1004; Penderecki: Violin Sonata No. 2...
Details

RECITAL
Redwood Empire AGO
Friday, March 02, 2018
7:30 PM - Rohnert Park
Paul Blanchard, organ
Ives: Variations on "America" Admission: $8...
Details

SYMPHONY
Marin Symphony
Sunday, March 04, 2018
3:00 PM - San Rafael
Alasdair Neale, conductor. Marin Symphony Chorus
Fauré: Requiem; Beethoven: Symphony No. 6 in F Major, Op. 68 (Pastoral)...
Details

CHORAL AND VOCAL
Cantiamo Sonoma
Sunday, March 04, 2018
5:30 PM - Santa Rosa
Cantiamo Sonoma, directed by Carol Menke. Robert Young, organ
Choral Evensong. Music by John Sanders, Eriks Esenvalds, Josu Elberdin, and Duruflé No admission charge; free will donation...
Details

SYMPHONY
Marin Symphony
Tuesday, March 06, 2018
7:30 PM - San Rafael
Alasdair Neale, conductor. Marin Symphony Chorus
Fauré: Requiem; Beethoven: Symphony No. 6 in F Major, Op. 68 (Pastoral)...
Details

CHAMBER
Redwood Empire AGO
Wednesday, March 07, 2018
7:00 PM - Santa Rosa
Jillian Gardner, organ
Bach: Fantasie and Fugue in G Minor, BWV 542, "O Mensch, bewain dein Sünde gross (BWV 622), Half, Gott, dass mir's gelinge (BWV 624), Christ lag in Todesbanden (BWV 625); Vierne: Symphonie II, Op. 20 ...
Details

CHORAL AND VOCAL
Marin Baroque Chamber Orchestra and Choir
Saturday, March 10, 2018
8:00 PM - San Anselmo
Daniel Canosa, Director. Marin Baroque Chamber Orchestra and Choir
Bach Motets: Jesu, Meine Freude (BWV 227) and Komm, Jesu, Komm (BWV 229) Tickets: https://bachmotets.brownpapertickets.com/ and at the door ...
Details