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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
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.