Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, December 05, 2009
Bruno Ferrandis, conductor
Santa Rosa Symphony Honor Choir

Bruno Ferrandis, Music Director and Conductor

WE HAVE IGNITION

by Steve Osborn
Saturday, December 05, 2009

Beethoven's Ninth Symphony has been played repeatedly in Sonoma County during the past decade, beginning with a memorable performance by the Santa Rosa Symphony under Jeffrey Kahane in the aftermath of 9/11. That event was so successful that several other renditions followed, including one in the Sonoma State University gym. The culmination, however, arrived at the Wells Fargo Center on Saturday, with a spine-tingling presentation by the Santa Rosa Symphony under Music Director Bruno Ferrandis.

One of the challenges of performing Beethoven’s Ninth is figuring out what to program during the first half. The Ninth runs more than an hour, so the usual overture and concerto make for an extended evening. The solution here was to avail the symphony of the choir and perform Stravinsky’s Symphony of Psalms. At 20 minutes, it’s short enough to whet the appetite without tiring the ear.

Sadly, the Stravinsky proved no match for the subsequent Beethoven. The reduced orchestra, with woodwinds in place of violins, produced a thin sound, and the 50-voice Sonoma County Bach Choir, hampered by the dry acoustic, never achieved the resonant tones it produces in its usual liturgical venues. (Full, happy disclosure: I sometimes sing in the Bach Choir.)

The performance did perk up a bit in the third movement, with the choir’s strong Alleluias and Laudates. Ferrandis, mouthing the words, exhorted more from the assemblage, yet it was all over too quickly for the music to take off.

The liftoff occurred in the second half, beginning with a long countdown during which the Bach Choir, the Santa Rosa Symphonic Chorus, and the Montgomery High School Chamber Singers — about 150 in all — filed on stage. There were enough singers to account for most of the full house, assuming each singer brought one or more friends or relatives.

The singers stood shoulder to shoulder at the back of the stage and then seated themselves, with much bending of knees, to await their turn in the fourth movement. Meanwhile, the soloists were notably absent, perhaps out of fear that they would divert attention from the orchestra.

When that ensemble finally began to play, ignition was immediate. The opening two-note figure was both mysterious and evocative, giving way to a blistering tempo under Ferrandis’ strict control. His movements have become more spare during his tenure in Santa Rosa, even as his command of the orchestra has grown more acute.

Ferrandis made the architecture of this architectural symphony readily apparent. Each line was distinct, even crystalline. The string sound, in particular, was short and punchy, with little sustain. That style of play was well-suited to the hurtling speed emanating from the podium, where Ferrandis’ foot seemed to have pegged the accelerator to the floor.

The scattered applause at the conclusion of the first movement quickly gave way to the crisp attack and even more rapid rate of the Molto vivace second movement. Someone near me started to moan, perhaps from heart fibrillations. I began to wonder if Ferrandis was giving the music enough room to breathe, but I soon succumbed to the compelling logic of 1-2-1-2, with octaves in the strings to reinforce the point.

After yet more applause, the soloists made their way onto the stage, and Ferrandis began the Adagio third movement. Here the up-tempo rendition worked against the music, which cries out for a more luxuriant, resonant approach. The continuing short, punchy bow strokes of the violins seemed out of place, while the winds were sometimes ragged.

No matter. The fourth movement started magisterially and got better from there. The cellos and basses were magnificent, their low tones projecting outward, their rhythm secure. The viola and bassoon duet was equally good, and the violin entry was thrilling.

Just as I began to wonder what could top all that exquisite playing, baritone Joseph Wiggett intoned, “O Freunde, nicht diese Töne!” (O friends, not these sounds!). Wiggett possesses a marvelous voice, with excellent German diction and an orotund sound. On cue, the assembled choirs rang out, “Freude!” (Joy!), benefiting greatly from their increased number.

The rest of the symphony was electrifying. The chorus blended seamlessly with the orchestra, as did the soloists. The final vocal quartet was a model of balanced ensemble, with each voice clearly audible.

The real star, however, was Ferrandis himself, who kept a tight grip on all the proceedings. I have rarely seen his musicians play so intently, or so well. Their fingers were really flying, and they kept hurtling through space right until the last note.

Reprinted with permission from San Francisco Classical Voice