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Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
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