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Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festivalís 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...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosaís Spring Lake Village Chamber Music Series. Before 140 in the Villageís auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
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 REVIEW
Santa Rosa Symphony / Saturday, February 12, 2011
Bruno Ferrandis, conductor
Christine Brandies, soprano

Soprano Christine Brandes

MOZART, MAHLER BURNING BRIGHT

by Steve Osborn
Saturday, February 12, 2011

How many performances of the Jupiter Symphony does it take to turn on a light bulb above the head of attentive listeners? In the case of the Santa Rosa Symphony, only one. Despite a few minor flaws, their rendition of this beloved classic on Feb. 12 was incandescent, glowing with the warm light that Mozart sheds over Earth and other planets.

With his precise style and brisk tempos, Bruno Ferrandis is a natural Mozart conductor. Glancing only occasionally at a diminutive pocket score, he flew right into the opening Allegro vivace, bidding the strings to dig in and articulate the notes with precision and rapidity. He loomed over the orchestra like a hawk, spreading his arms to ride the waves of sound and then diving forward suddenly to summon each new entry. The call-and-response orchestration was clearly audible, with each phrase matching its counterpart.

The tension of the first movement gave way to the singing Andante of the second. Ferrandis lowered his shoulders considerably, and the orchestra responded with a more relaxed and open sound, marred only by a lack of dynamic contrast. The third movement, a minuet, brought even more changes, with unexpected ritards in certain measures, followed by strong downbeats. The violins offered some particularly agile bowing, mixing fluid down bows with spiky upstrokes.

The fourth movement was both the most impressive and the most problematic. Ferrandis and the orchestra did a great job of bringing out all the many disparate parts, but some of the entries were ragged and uncertain. The woodwinds in particular seemed to have trouble following Ferrandisís beat, occasionally entering late and rushing their notes. The overall effect, however, was wonderful.

Wonderful also was the concert-opening overture to the Marriage of Figaro, rendered at an equally brisk pace with good ensemble playing from the strings. Unlike many orchestra programs, the overture was followed by an aria from the actual opera: ďPorgi, amor,Ē sung by soprano Christine Brandes. She wasted no time in displaying her full, rounded voice, crescendoing effortlessly into high notes with a carefully controlled vibrato. She has a gorgeous sound perfectly suited to the aria, which is sung by the unhappy Countess at the beginning of the second act.

Brandes returned after intermission to sing the Seven Early Songs by Alban Berg. While not as well known as his Altenberg Lieder, the songs do show his remarkable feeling for drama and soaring melody. Their scoring, however, is a bit murky, probably because they were originally conceived for voice and piano and orchestrated much later to capitalize on Bergís operatic fame.

While Brandes sang well, she undercut her own stage presence by using a score. This was a little mystifying, given her many operatic roles, but perhaps she didnít have time to memorize the music. In any case, her German articulation was not as precise as her Italian in the Mozart aria, and her lower notes were often swallowed by the orchestra. Balance was a problem in the outer movements, which call for larger orchestra, but she hit her stride in the less orchestrated middle movements, particularly in the third song, ďThe Nightingale,Ē where she displayed great strength in her upper register.

In contrast to the Mozart, the Berg songs were all slow-moving, rarely rising above a strolling Andante. The pace slowed even more for the final work on the program, the Adagio from Mahlerís incomplete 10th symphony. Here the soaring vocal lines of the Berg were replaced by long figures from the strings, most notably the violas. They begin the movement all by themselves, playing an ambient melody that floats around a tonal center without ever settling down. The performance here was exquisite, with cohesive ensemble and not a single note or bow out of place.

After the violasí memorable entry, the rest of the orchestra took turns pouring out Mahlerís viscous score. The forces are immense, but the work often has a chamber feeling, with only one or two lines unfolding. Mahler moves from one idea to the next, never settling into any definite direction. The entire movement seems to be composed of dying cadences, each one projecting an aura of finality, only to be replaced by another cadence that seems even more final.

Toward the end, the orchestra settled briefly into a triumphant waltz, followed by a series of memorable duets. When the movement finally did end, the sound moved upward from the cellos and bassoons to a shrill (and slightly out of tune) utterance from the piccolo. While not a quite a bang, it was a fitting conclusion for Mahlerís otherwise dark and brooding masterpiece.

All in all, the concert offered quite a contrast, from the vivacity of Mozart to the tortured melancholy of Mahler and Berg. Nonetheless, the light bulb burned brightly throughout.

[Reprinted with permission from San Francisco Classical Voice.]