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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 Rosaís 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 Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís 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 SaŽns, 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 Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís 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 / 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 nightís Santa Rosa Symphony concert witnessed the unusual sight of five microphones: one to the left of the conductorís 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 Weillís 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 thereís 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 Weillís 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 ďCovetousnessĒ 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 itís 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 Mozartís 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, itís really quite short.

The opera, more or less, arrived in the form of the ballet suite from Tchaikovskyís 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 waltzís 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 thatís the nature of Tchaikovskyís 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 concertís 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 orchestraís performance was first-rate all season long.

Reprinted with permission from San Francisco Classical Voice.