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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
SYMPHONY REVIEW
Marin Symphony / Tuesday, April 13, 2010
Alasdair Neale, conductor
Edward Abrams, guest conductor
Christine Brewer, soprano

Soprano Christine Brewer in Marin

OUTSIDE THE ROMANTIC PALE

by Terry McNeill
Tuesday, April 13, 2010

In a finale to a year of literature-based programs (“Season of the Scribe’) the Marin Symphony April 13 presented a curious mix of compositions that purported to have a common romantic theme. Preceding the sonic splendor of Wagner’s Siegfried Idyll and the “Prelude and Liebestod” from Tristan und Isolde was an eclectic first half of works by Samuel Barber and contemporary composer David Carlson, both well outside the 19th-century romantic pale.

In the concert’s opening Second Essay for Orchestra of Barber, Music Director Alasdair Neale gave the baton to protégé Edward Abrams, and all went well with the 12-minute work from 1942. The strings were sonorous, with Mr. Abrams bringing balanced control to this concentrated piece. There was rich clarinet playing from principal Arthur Austin and a lovely trio with Mr. Austin, principal bassoonist Carla Wilson and oboist Margot Golding. The introspective nature of Barber’s popular piece, at least before the powerful climaxes and foreboding unison strings at the end, was artfully introduced by flutist Monica Daniel-Barker.

Prior to intermission the Symphony presented the world premiere of Carlson’s The Promise of Time, featuring soprano Christine Brewer. Based on dramatic lyrics by Susan Kinsolving, the three-movement work was part of a commissioning project by a Silicon Valley philanthropist that has benefited several Bay Area orchestras. Composed of three parts – “Blossoms Abundant,” “Velocity,” and “Hourglass” – the thick-textured work was not always cordial for Brewer’s powerful voice. The musical references seemed mostly to come from Richard Strauss’ “Four Last Songs,” an autumnal work from the post-World War II period just before Strauss’ death. In “Velocity,” Brewer sang with weighty projection, but the words, at least from the tenth row, were mostly unintelligible.

The more lyrical third movement, absent the vehement multiple crescendi of “Velocity,” and with themes rising from the depths of the orchestra, was telling. Mr. Neale, conducting from score, caught the nostalgic bent of the music, and it seemed a long-familiar work rather than something novel and demanding. The massive ending chords with cymbals and brass were thrilling. The composer and lyricist took bows with Mr. Neale and Ms. Brewer.

Following a long intermission, Mr. Neale conducted an assured Siegfried Idyll (1870) performance, offering brisk tempos without score or baton. The long clarinet solo from Mr. Austin joined with pungent playing from the oboes. It was elegant Wagner throughout, the conductor clearly relishing the long romantic lines after the histrionics of the concert’s first half.

The “Idyll,” one of Wagner’s few non-operatic works, led smoothly into Isolde’s panegyric to warmly receptive death. Ms. Brewer returned to stage center to pit her formidable voice against the large orchestra. She had all well in hand, with only the low range being covered by the orchestra, and her top notes resounded to the last row of seats. The Symphony’s five-member horn section, led by Alex Camphouse, gave potent support. It was exalted music making of a score that will never seem routine. Mr. Neale crafted the extended operatic phrases with care and visual attention to Brewer’s singing.

Oddly the great Wagner ode didn’t have an ecstatic effect on the nearly full house. There were the standard flowers for the soloist, but not a universal standing ovation or many recalls. The performance deserved more.