Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
SYMPHONY REVIEW
Napa Valley Symphony / Friday, May 29, 2009
Asher Raboy, conducting
Lynn Harrell, cello

Cellist Lynn Harrell Playing the Dvorak Concerto

MELODIOUS AND CONVINCING DVORAK BY HARRELL

by Terry McNeill
Friday, May 29, 2009

It’s not often that listeners have a chance to hear what arguably is the best work in a single classical genre, especially a concerto. On May 29, the Napa Valley Symphony offered just such an opportunity in Yountville’s Lincoln Theater when they performed the magnificent Dvorak Cello Concerto with veteran soloist Lynn Harrell.

Cello aficionados looking for a performance similar to Yo Yo Ma’s lyrical flights or Rostropovich’s magisterial intensity would have been disappointed, as Harrell provided an elegantly paced and ultimately low-key reading under the baton of Asher Raboy. Before a nearly full hall in the final concert of the Symphony’s 76th season, Harrell gave the luminous second theme of the opening Allegro movement rich color and nuance, never forcing the lush romanticism and always expanding on the phrases from the Orchestra. His duos with clarinetist Diane Maltester and the entire French horn section were captivating.

The poetic Adagio movement, both pastoral and troubled in character, found the soloist in a ruminating mood, never in a hurry to get anywhere. The three trills high up on the cello’s strings at the movement’s conclusion were played quietly and effortlessly, carrying to the back of the theater. The hall’s silence was palpable, though intruding applause broke the spell prior to the beginning of the final movement.

The Allegro moderato finale was full of restrained virtuosity, the opening march theme turning into a dance, the modulations frequent and telling. Concertmaster Yasushi Ogura traded graceful phrases with Harrell, their eyes seeming to reveal the joy of performing such opulent music, premiered in 1896 and a staple since for every concert cellist. The Orchestra responded to Raboy’s ebullient control, and joined in a rousing ovation for Harrell, along the mostly standing audience. In sum, Harrell offered a balanced, melodious and convincing performance of a passionate score.

The concert opened with Mendelssohn’s Overture to a Midsummer Night’s Dream, the initial sound harmed by a loud Friday night audience and lack of volume from the violins. Here, and in the following Jeu de Cartes of Stravinsky, the powerful brass section tended to swamp the high strings.

Written in 1936 for a ballet, the Stravinsky score seems to have infinite sections, and for me works better when the original dancers portray the convoluted but brilliantly scored music, often polytonal and alternatively sardonic and whimsical. The horns, sure-footed everywhere else, bobbled some notes but in no way diminished the florid decoration of sound. Principal flutist Rebecca Pollock-Ayers had a fetching solo in the first movement’s dance variation, and the winds all around were exemplary.

The syncopated rhythms Stravinsky first developed in his pre-classical period ballets (Firebird, Petrushka, the Rite of Spring) were still in evidence, as in the pulsing repeated notes from Scott Stubbs’ tuba. No composer of that era was able to combine such rhythmic power with such taunting orchestral timbre as did Stravinsky. Maestro Raboy’s pithy introductory remarks about the music’s origins were matched by his attention to the tricky details of keeping everything in balance. A lot of balls were in the air, and in the cards, in this agitated 20-minute performance.

Though facing financial hurdles as with other community orchestras, the Napa Valley Symphony is performing on a high level, playing challenging music with élan and professional finish.