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Wednesday, December 12, 2018
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 Recent Reviews
SYMPHONY
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
RECITAL
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
RECITAL
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
CHAMBER
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
SYMPHONY
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
CHAMBER
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
CHAMBER
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
SYMPHONY
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
SYMPHONY
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
RECITAL
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Local Concerts  
SYMPHONY REVIEW
Santa Rosa Symphony and Sonoma State University Symphonic Chorus / Sunday, December 02, 2018
Jayce Ogren, conductor. Nokuthula Ngwenyama, viola; Jenny Bent, chorus director

Conductor Jayce Ogren

SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS

by Steve Osborn
Sunday, December 02, 2018

Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-witted reviewer made the connection.

Instead of having Tell stride on stage and shoot the apple off his son’s head, the orchestra offered a bull’s-eye performance that split the overture right down the middle. Audiences of a certain age are accustomed to hearing only the latter part of the piece, where the Lone Ranger gallops across the screen shouting “Hi ho, Silver”; but there’s much more to it than that.

Principal cellist Adelle-Akika Kearns opened with a beautifully played solo, accompanied at times by four of her cello colleagues. Her tone was gorgeous, her vibrato smooth and her long trills outstanding. Next came solid work from the trombones, a lovely flute and English horn duet, and the heraldic trumpet entry that brings on the Lone Ranger. Guest conductor Jayce Ogren set a furious pace but proved adept at controlling dynamics and eliciting meticulous playing despite all the frenzy. Boisterous applause followed the rousing performance.

So far so good, but then the Swiss legend gave way to an English melancholic of far less heroic proportions. Berlioz’s “Harold in Italy,” based on Lord Byron’s semi-autobiographical poem “Childe Harold,” is a symphony masquerading as a concerto. The viola, ably played here by Nokuthula Ngwenyama, takes on the role of Harold observing various Italian tableaux. While the viola part is sometimes of interest, it is nowhere near as virtuosic or impassioned as true viola concertos by Bartok, Walton and other modern composers.

Ngwenyama spent most of her time playing long notes or arpeggios, with very few dazzling runs or assertive solos. She also hampered her stage presence by playing from a computerized score, which she kept advancing with a foot pedal. In addition, Berlioz’s awkward orchestration often had her doubling lines played by other orchestral sections, particularly the French horns. Her strings vibrated and her bow moved, but the horns drowned her out.

The viola is relatively prominent in the first two movements, but it begins to fade out in the third, deferring to the English horn for a prominent solo. By the fourth movement, the viola plays almost nothing except for a brief passage near the end, all of which entails a considerable amount of standing around.

Perhaps a better way to perform “Harold in Italy” would be to place the soloist in the principal viola spot inside the orchestra. The soloist would still be the main character, but only within a larger context that hides the long stretches of viola silence.

The soloists in Vivaldi’s “Gloria” also did a fair amount of sitting around, but that is de rigeur in works for orchestra, chorus and soloists. In a gesture to Baroque performance practice, the orchestra was reduced to 30 players, all but four of them strings. (The non-strings were a trumpet, an oboe, a bassoon and a small organ.) In contrast, the chorus remained at full strength, with about 70 singers from Sonoma State and Santa Rosa Junior College arrayed on the stage behind the orchestra.

The numbers worked to the choir’s advantage, allowing them to be heard clearly at all times. They enhanced their clarity by careful enunciation of the Latin text and by blending well as a group. The bass, tenor, alto and soprano sections were evenly balanced, and nobody stuck out.

The choir’s singing in the opening “Gloria in excelsis Deo” was sprightly and vivacious, and their performance of the subsequent “Et in terra pax” was restful and calm. Ogren did an admirable job of balancing the singers and the instrumentalists, offering clear signals and expressive hand gestures.

The solos began with a wonderful rendition of the “Laudamus te” soprano duet by Sonoma State alumnae Jennifer Thuman and Esther Rayo. Their voices were radiant, and they projected well in the large space. After another chorus, Thuman followed up with a sublime “Domine Deus” displaying a well-controlled vibrato and solid trills. The final soloist, mezzo-soprano Chris Fritzche, also impressed in another “Domine Deus” and the penultimate “Qui sedes.”

The chorus had the last word with a rousing “Quoniam tu solus sanctus,” leading to an emphatic and life-affirming “Amen.” The applause was long and loud.

Reprinted by permission of San Francisco Classical Voice.

Events Calendar

CHAMBER
Music at Oakmont
Thursday, December 13, 2018
1:30 PM - Santa Rosa
Left Coast Chamber Ensemble. Nikki Enfield, narrator; Cindy Heen, dancer; Anna Pressler, violin; Mi
Stravinsky: L'Historie du Soldat Music at Oakmont concerts are open to Oakmont residents and their guests...
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CHORAL AND VOCAL
Green Music Center
Saturday, December 15, 2018
7:00 PM - Rohnert Park
American Bach Soloists. Jeffrey Thomas, conductor
Handel: Oratorio "The Messiah"...
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SYMPHONY
College of Marin
Saturday, December 15, 2018
7:30 PM - Kentfield
Marin Oratorio and Chorus, Boyd Jarrrell, conductor. Paul Smith and Jeffrey Paul, piano
Schubert: Mass in G Major, Ave Maria, Nachtgesang im Wald, Erl-König, TBA...
Details

RECITAL
Opus Chamber Music Series
Sunday, December 16, 2018
3:00 PM - Mendocino
Natsuki Fukasawa, piano
Liszt: Dante Sonata (Fantasia quasi Sonata) from Années de Pèlerinage - Italie; Liszt: Au Bord d'une Source and Les Jeux d' Eaux a la Villa d'Este; Sunny Knable: 36 Views of Mt. Fuji; Debussy: Claire ...
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CHORAL AND VOCAL
College of Marin
Sunday, December 16, 2018
3:00 PM - Kentfield
Marin Oratorio Chorus and Orchestra, Boyd Jarrell, conductor. Jeffrey Paul nd Paul Smith, piano
Schubert: Ave Maria, Erl-König, Nachtgesang im Wald; Mass in G Major...
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SYMPHONY
Santa Rosa Symphony League
Sunday, December 16, 2018
3:00 PM - Santa Rosa
Daniel Earl, conductor
Redwood Empire Sing-Along Messiah. Handel: Oratorio "Messiah" (sing along audience) Adults: $25, Symphony League Members $20; Students $15...
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RECITAL
Mythica
Monday, December 17, 2018
8:00 PM - Petaluma
Kayleen Asbo, lecturer and piano; Emma Asbow, piano; Jason Byers, piano and baritone
Beethoven's birthday candlelight concert All profits from the concerts go to funding initiatives to bring music education into local schools and provide scholarships for music camps for needy childr...
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CHAMBER
Music at Oakmont
Thursday, January 10, 2019
1:30 PM - Santa Rosa
Edward Arron, cello; Jeewon Park, piano
Falla: Suite Popular Espagnole; Chopin: G Minor Ballade, Op. 23; Brahms: F Major Sonata, Op. 99; Beethoven: Variations on Handel's Oratorio "Judas Maccabaeus" WoO45 Music at Oakmont concerts are open...
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CHORAL AND VOCAL
Sonoma Bach
Friday, January 11, 2019
8:00 PM - Rohnert Park
Robert Worth, director. Ann Laver, organ
Music of Johann Walter, Schein, Buxtehude and Bach TBA...
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SYMPHONY
Santa Rosa Symphony
Saturday, January 12, 2019
7:30 PM - Rohnert Park
Francesco Lecce-Chong, conductor. Marie Plette, soprano
Mahler: Symphony No. 4; Takemitsu: Signals from heaven; Mozart: G Minor Symphony, No. 40, K. 550...
Details