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Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
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