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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...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
SYMPHONY REVIEW
Santa Rosa Symphony / Monday, May 10, 2010
Bruno Ferrandis, conductor
Ute Lemper, vocalist
Hudson Shad, male vocal quartet

Ute Lemper

SINS, SWANS AND DONS

by Steve Osborn
Monday, May 10, 2010

Patrons returning for the second half of Monday night’s Santa Rosa Symphony concert witnessed the unusual sight of five microphones: one to the left of the conductor’s podium, next to a black stool, and four to the right, with accompanying chairs. The stool and chairs were soon occupied, respectively, by vocal soloist Ute Lemper and the male vocal ensemble Hudson Shad.

These peculiar forces and accoutrements had been assembled by Music Director Bruno Ferrandis for Kurt Weill’s Seven Deadly Sins, a rarely performed work from 1933, originally written as a ballet with accompanying lyrics by Bertolt Brecht. In the original version, a soprano sings the role of Anna I, one side of a split personality, and a ballerina dances the role of her counterpart, Anna II, with occasional brief vocal interjections.

Instead of adopting the ballet format, the powers that be chose to combine Annas I and II into a single person (Lemper), even though the stage had plenty of room for a dancer. While Lemper mostly sang, she did make a few faintly balletic moves by twirling her floor-length black dress or swaying suggestively.

The awkward format was but one of many problems with the performance. The libretto stuffed into the programs, for example, was only in English, even though Lemper was singing the original German. The absence of a parallel text made following along difficult.

Equally puzzling was the lack of supertitles. In this day and age, supertitles are a given for opera, and there’s a compelling case for bringing them into symphonic vocal performances, as well. Their presence would reduce the rustling of librettos, if nothing else.

The microphones were yet another problem. Classical soloists generally avoid these contraptions because they fundamentally alter the quality of sound produced. Instead of a voice ringing out from an actual person, you get a disembodied voice squawking out of a box. The first has a full sound, replete with subtlety; the latter is reduced to an electronic signal notably lacking in finesse.

The real problem with the performance, however, was Lemper herself. Her voice, amplified or not, ranges from a low-pitched growling sound to a high-pitched whine, with little in between except for a pervasive vibrato. To be fair, that may be the cabaret style of performance required for Weill, but it quickly grows old.

The vocal quartet was much better, and their long chorus representing the sin of gluttony was the highlight of the show. Ranged from left to right on the stage, they seemed almost a caricature of a male vocal quartet, beginning with a short, smooth-skinned, rotund tenor, moving up through a couple of baritones, and ending with a tall, thin, bearded bass. Their voices blended well, and their enactment of the lyrics was often hilarious.

In the background, Ferrandis and the Symphony did their best to make sense of Weill’s music, which offers little variety. The score is mostly an extended recitative for Anna I, with little in the way of melodic invention or thematic contrast. One exception is the “Covetousness” section, where the violins offer an effective counterpoint to the quartet.

The audience, though, loved it, and Lemper performed two Weill encores. The obligatory Mack the Knife (sung in German) was followed by a French lullaby from 1935. In the latter, Lemper dropped her cabaret style and opted for more soothing tones, though it’s hard to imagine a baby being lulled to sleep by a parent singing into a microphone.

The first half of the concert was far better for the purists in the hall. It began with a solid performance of Mozart’s overture to Don Giovanni. Ferrandis used his fluid arm gestures to propel the orchestra forward, coaxing particularly good ensemble work from the strings. Sadly, the overture was over way too soon. Minus the subsequent opera, it’s really quite short.

The opera, more or less, arrived in the form of the ballet suite from Tchaikovsky’s Swan Lake. This similarly tragic romantic tale is suffused with familiar melodies, which the Symphony played to the hilt. Absent a corps de ballet, Ferrandis became the premier danseur, twirling about the podium like a virtual Nureyev.

The eight-part suite began with a haunting oboe solo from principal Barbara Midney in the first part, followed by a memorable waltz in the second. The person next to me began swaying in her seat during the waltz, perhaps responding to the urgency and elegance of the performance. A well-played cornet solo from principal trumpet Doug Morton led to the waltz’s rousing conclusion, which was followed by sustained applause.

The subsequent parts of the suite never did quite rise to the energy level of the waltz, but that’s the nature of Tchaikovsky’s score, not a criticism of the performance. The Symphony played wonderfully all the way to the end. Of particular note were the harp (Randall Pratt), violin (Joe Edelberg), and cello (Wanda Warkentin) solos in the fourth part, and another Morton cornet solo in the seventh.

At the end of Swan Lake, the audience gave Ferrandis and company a well-deserved standing ovation, a gesture they repeated at the concert’s conclusion. Both gestures marked a fitting end to another great season from this talented regional orchestra. The repertoire and soloists may have had their highs and lows, but the orchestra’s performance was first-rate all season long.

Reprinted with permission from San Francisco Classical Voice.