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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
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.