Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
SYMPHONY REVIEW
Santa Rosa Symphony / Monday, February 18, 2008
Bruno Ferrandis, conductor
Ingrid Fliter, piano

Ingrid Fliter

AN OCEAN OF SOUND

by Steve Osborn
Monday, February 18, 2008

The Santa Rosa Symphony concert on Feb. 18 featured gifted local players, an internationally recognized soloist, and a superb conductor; but the real star was the sea, as evoked in a memorable performance of Debussy's "La Mer." The other works on the program (by Dutilleux, Beethoven and Fauré) paled in comparison to this French impressionist masterpiece.

The evening began not with music but with an evident change in the string sections. With the exception of concertmaster Joseph Edelberg and the principal violists, all the first and second chairs were either new or shuffled upward from the ranks. The same held true for the rest of the strings: some familiar faces but lots of new ones. As shown in "The Freeway Philharmonic," KQED's recent documentary about freelance musicians, the personnel in the Santa Rosa Symphony and other regional orchestras is constantly shifting. What is remarkable is how well Maestro Bruno Ferrandis is able to hold the orchestra together, despite its protean tendencies. Who knows what he could accomplish if his musicians didn't keep changing from concert to concert?

Speaking of inconstancy, the opening work, Henri Dutilleux's Métaboles, from 1965, was all about change. The work offered five slowly metabolizing movements, each one demonstrating how a musical idea can develop through orchestration, dynamics, phrasing, and other tricks in the composer's bag. The names of the movements speak for themselves: Incantatory, Linear, Obsessional, Torpid, and Flamboyant.

"Incantatory" was just that, beginning with plucked strings and light percussion, then gradually adding winds and brass. As the texture thickened, the strings broke out their bows, moving from individual droplets to waves of connected notes. "Linear" began with a beautiful solo from the freelance principal cellist (her name didn't appear in the program) and proceeded linearly through the orchestra at a luxurious pace. Attention in the next two movements shifted to the brass, which played jazz-like riffs above a walking bass line. The sound was often reminiscent of Miles Davis and Gil Evans recordings from the 1950s. The "Flamboyant" finale began with a rapid ostinato figure in the violas that got passed around until nearly every section in the orchestra was playing its own riff. The inevitable crescendo and climax were impressive, if somewhat predictable.

After the full-throated and resonant sonorities of the Dutilleux, the reduced forces employed for Beethoven's Second Piano Concerto sounded somewhat muted. It took a while to get used to the sonorities of an orchestra dominated by strings, with only a few token woodwinds and no brass or percussion. The emptiness could have been filled by the piano soloist, Ingrid Fliter, but her attack was so pointed and sharp that the notes didn't have much chance to resonate. At times, she made the upper registers sound almost like a fortepiano.

Fliter is clearly an accomplished pianist who can play all the notes, but she tends to let go of phrases too early and let them fade into nothingness. The various sections of the opening movement didn't flow into each other, leaving the impression of discrete passages rather than a connected work. In the slow movement, her touch was too heavy, and the piano didn't resonate. Her playing improved in the final movement, however, which she danced through in true Rondo form.

The second half of the concert opened with a delightful rendition of Gabriel Fauré's "Masques et bergamasques," a suite that he assembled after the First World War by orchestrating some of his older works. The four sections--Overture, Minuet, Gavotte, and Pastorale--come across like piano miniatures, full of life and energy. Maestro Ferrandis was clearly in his element, using a light touch to blend the orchestra and make it dance. He is truly a joy to watch, with his sweeping gestures and intricate hand movements. Each one means something to the orchestra, which in this case translated his gyrations into music of ravishing simplicity and joy. If only Fauré had written more.

In contrast to Fauré's string of pearls, Debussy's "La Mer" is an intricate necklace, painstakingly assembled from a treasure chest of sonic jewels. Debussy's orchestration is second to none, and he employs all the forces at his disposal to create a dynamic portrait of the sea in all its moods and weathers. Harnessing all those forces and moving them forward is the conductor's job, one that Ferrandis never shirks from. He emphasized fluidity above all, coaxing the orchestra to swell and recede like waves in constant motion. He also brought out the narrative line that sustains the listener's interest throughout the work.

The first movement, with its evocation of dawn over the sea gradually brightening to noon, moved inexorably forward, building to a spine-tingling moment at the end, when an imagined sun bursts forth in all its glory. The second movement, "Play of the waves," was dominated by a shimmering pair of expertly played harps, but the third movement was all Ferrandis, one's eyes drawn again and again to his perpetually moving hands and fingers. At one moment, all the fingers on his left hand are splayed out; then the thumb and index join together to form a circle, all the while moving up and down. An instant later, he gives a cue with his index finger, then opens his palms as if to beseech the orchestra for more sound. Just as quickly, the fingers spring to his lips, quieting the tempest. And all the while, his right hand grips the baton, giving a steady and unwavering beat.

The effect was magical, impressive, unforgettable. Santa Rosa is really lucky to have a conductor of Ferrandis's caliber. His musicians may come from the "Freeway Philharmonic," but he's a master at directing traffic.