Home  Reviews  Articles  Calendar  Presenters  Add Event     
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, November 07, 2009
Bruno Ferrandis, conductor
Guest soloist, Julie Albers, cello

Cellist Julie Albers

WHAT DVORAK KNEW

by Steve Osborn
Saturday, November 07, 2009

On reading the score of Antonín Dvořák’s magnificent Cello Concerto in B Minor, Op. 104, Dvořák's mentor Brahms is reputed to have said, “Why on earth didn’t I know that one could write a cello concerto like this? If I had only known, I would have written one long ago!”

What Dvořák knew was that the cello could be a soaring solo instrument, on a par with the violin, if placed in the proper orchestral context. With its low register, a solo cello is often in danger of being drowned out by all those piercing fiddles; but if the orchestra is held at bay, the cello can truly shine.

This solution for cello concertos was on full display Saturday at the Santa Rosa Symphony concert, where soloist Julie Albers joined the symphony under Music Director Bruno Ferrandis for a riveting performance of the Dvořák concerto. Despite the infamous acoustics of the Wells Fargo Center in Santa Rosa, Albers managed to project her sound not only above the orchestra, but also to the farthest reaches of the balcony.

Ferrandis set the stage for Albers with a dainty yet sure-handed performance of the Prelude to Rusalka, the only Dvořák opera in the standard repertory. This late work, composed after the composer’s return to Bohemia from America, centers on water nymphs, and the music is accordingly gossamer-thin and delicate. Lightness was the order of the day, and Ferrandis spent most of his time with his fingers to his lips and his hands held up as if calming traffic. His efforts paid off, producing a shimmering though all too brief performance that made me want to hear the rest of the opera.

Instead of a water nymph, Julie Albers then strode on the stage, looking quite land-based in a strapless brown gown, with matching long brown hair. Her subdued ensemble set off her slender yet muscular arms and fingers to dramatic effect. And when she sat down, those arms and fingers soon became the center of attention, playing her chosen instrument with consummate artistry and skill.

Mastery is a given for world-class soloists, but it never ceases to amaze lesser mortals how someone can play an instrument to such perfection, with every note in time and in tune, every phrase fully articulated, every dynamic precisely controlled. If I’d known one could play a cello like Albers, I would have taken it up long ago.

Perhaps the most impressive aspect of Albers’ playing was her intonation and confidence in the cello’s upper register. With her left arm extended over her instrument, her digits positively danced at the end of the fingerboard, landing right in the center of each note. She had a fabulous glissando, impeccable double stops, and the trill of a hummingbird.

As Albers developed the majestic theme of the opening movement, Ferrandis kept the orchestra in check, repeatedly beseeching them to be quiet and let the cello radiate outward. This strategy continued in the quiet middle movement, where the balance is even trickier. Albers’ solo here was luminous and expressive, evoking a tranquil pastoral scene complete with chirping birds from the woodwinds.

Albers began the final movement with a strong statement of the theme, played with real rhythmic flourish. Her runs were dazzling, but she continued to shine above all in the quiet passages, which were positively serene. Ferrandis and the orchestra matched her note for note, making for a memorable performance of a true masterpiece.

The masterpieces continued in the second half, given over to Dvořák’s Symphony No. 9, “From the New World.” That world is usually identified as America, where the composer wrote both the symphony and the cello concerto, though the ambiguity of the title suggests many other possibilities. The only certain conclusion is that this particular symphony is forever new, as refreshing on the hundredth hearing as on the first.

Performing standard repertory is a challenge for conductors who want to leave their mark on the music. Some change the tempos, bring out certain voices, even fiddle with the score. Ferrandis, however, played it straight, deciding only to invest the work with as much energy and happiness as possible. His horses were already at full gallop when they left the barn in the first movement, and he spurred them onward by literally jumping up and down on the podium.

The famous English horn solo at the outset of the second movement, played here by Laura Reynolds, transformed velocity into sweetness, and the subsequent playing throughout the orchestra was suffused with melody and strong dynamic contrasts. The last two movements resumed the energy of the first, reaching a high point with a terrific brass entry at the beginning of the fourth.

The performance was both self-effacing and triumphant. Through his diligent efforts, Ferrandis made clear what a great piece of music the “New World” symphony is, and his talented musicians gave a performance to match his vision.

[Reprinted with permission from San Francisco Classical Voice]