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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
Santa Rosa Symphony / Saturday, February 13, 2010
Bruno Ferrandis, conductor
Berenika, piano

Berhzad Ranjbaran

THREE HITS AND A MISS AT SRSO CONCERT

by Terry McNeill
Saturday, February 13, 2010

In the fifth set of Santa Rosa Symphony concerts in the current season, conductor Bruno Ferrandis programmed a world premiere and ended with a familiar Schumann symphony. In between were Chopin’s F Minor Piano Concerto, Op. 21, with soloist Berenika Zakrzewski, and Schumann's "Manfred" overture.

Berhzad Ranjbaran’s “Mithra” was the premiere, part of the Magnum Opus series of new works commissioned by a Silicon Valley philanthropist and played subsequently by three Bay Area orchestras. It was a fetching composition, with fine playing from the Orchestra and good control of sonic balance from Mr. Ferrandis. In three sections, beginning with a haunting flute solo by Kathleen Lane Reynolds, the work spotlights low-register strings, with many short motives competing for prominence. Bits, but only bits, of Shostakovich orchestra color populate the first section, the woodwind slides intriguing and combining with piquant notes from marimba. The middle section, faster and with no less intensity than the opening part, was energetically played. Mr. Ranjbaran has a consummate command of orchestration and instrumental color.

After two sets of what can be called four-note “thuds,” a lyrical harp solo from Randall Pratt introduced a lofty flute passage, creating a bucolic effect with the violins playing with diminished vibrato. The final chords, carefully paced by Ferrandis, magically brought the 15-minute piece to a gentle end. Ms. Reynolds’ sui generis work with the flute is a pillar of the Orchestra. One wonders why she hasn’t played a formal recital here in many years. Are there any flute recitals anymore?

Berenika (the stage name she prefers to use) was less than impressive in the Chopin concerto, a luscious composition built on thematic designs from the Italian operas the composer loved. Mostly she didn’t have a musical clue of the subtlety and lyrical richness of the work, and for this writer it was the least professional performance of a concerto heard within memory in Wells. Looking back to past SRSO performances of standard repertoire, Lang Lang camped and banged his way through the Rachmaninoff Third many years ago, but understood the grandeur of the work. More recently Jonathan Biss played a boring Schumann A Minor Concerto, at least until the finale, but understood the composer’s rhythmic delights.

Here the tempos Mr. Ferrandis used, nearly throughout, generated muddy passages in fast scales from Berenika and lack of cogent phrasing. The reading was as fast as the ne plus ultra of Op. 21 recordings, the Hofmann/Barbirolli/NY Philharmonic from 1938, even though Barbirolli takes a long cut in the orchestra introduction. There never was a really adept use of pianistic rubato in the entire performance. But the lack of lyricism in Chopin’s beguiling themes was the key defect of Berenika’s playing. An example of this of this could be found at measure 306, in the apex of the cadenza, where Chopin writes a descending right-hand detaché figure followed immediately by florid 16-note phrase, each tone worthy of attention and meaning. Berenika simply played through it without any thought to its majesty and expressive character. It was also difficult to hear her bass chords, even the final one in F Minor after the right hand trill.

The enchanting Larghetto, perhaps Chopin’s most sublime concerted movement, proceeded at a more relaxed pace, but here again the soloist tended to rush into each phrase, missing the tenderness that makes the movement a connoisseur's favorite, and even the subject of several solo transcriptions. Berenika played “on top” of the keys, never getting an opulent sound from the instrument. The finale (Allegro vivace) was the best of the night’s playing. The right-hand skips were nailed, and there was rhythmic interest in this rollicking Rondo. But it was still small-scale playing, pedaling covering clarity in scales, the whole sounding like an conservatory student in a rehearsal run-through.

Schumann’s large orchestral works clearly are close to Mr. Ferrandis’ heart. In the second half, he conducted the Op. 115 “Manfred” Overture in E-Flat Major, Op. 115, and the grand D Minor Symphony, the Fourth, Op. 120. Both benefited by the conductor’s sense of the “long line” needed to carry Schumann’s more somber symphonic pieces. So different from the joyous “Rhenish” Third Symphony, the D Minor only has joy in the concluding Langsam-Lebhaft, but under Ferrandis’ baton the music was riveting. Flutist Bonnie Lockett was a perfect match for her section mate Reynolds in the energetic opening movement. Acting principal cellist Robin Bonell opened the A Minor Romanze with a lovely solo, the Orchestra then playing to the solo violin passages of Concertmaster Joseph Edelberg.

In the final two movements Mr. Ferrandis essentially abandoned looking at the score in front of him, his identification with Schumann’s vitality was so thorough. He has a sweeping ability to balance sectional resonance and volume, difficult to do in both the Symphony and the shorter, convoluted Overture.

The final movement, in D Major, was characterized by fine trumpet playing from Doug Morton and Dan Norris, and equally effective trombone work of Amy Bowers, Kurt Patzner and David Kunkle. The nearly full house provided warm applause to the players, with the conductor surely relishing the radiance his artistry brought to two of Schumann’s dark but edifying works.