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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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 Ferrandis’s 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: “Porgi, amor,” 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 Berg’s 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 didn’t 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, “The Nightingale,” 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 Mahler’s 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 violas’ memorable entry, the rest of the orchestra took turns pouring out Mahler’s 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 Mahler’s 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.]