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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 Festival’s 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 Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s 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 Rosa’s 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 Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s 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 Saëns, 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 Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s 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...
CHAMBER REVIEW
Trio Navarro / Sunday, April 24, 2011
Roy Malan, violin
Jill Rachuy Brindel, cello
Marilyn Thompson, piano

Trio Navarro at SSU Easter Sunday Concert

ROREM'S KNOTTY SPRING MUSIC PLAYED BY TRIO NAVARRO AT SSU CONCERT

by Terry McNeill
Sunday, April 24, 2011

Continuing a stellar history of innovative piano trio programming, the resident SSU Trio Navarro closed their season April 24 in an Easter Sunday concert replete with two large novelties and a slightly more familiar work by Beethoven.

Before 90 listeners in the Green Music Center’s orchestra rehearsal room, the Navarro first tackled Rorem’s Spring Music, an eclectic 1990 work premiered by the Beaux Arts Trio. In five extended movements, the music isn’t easy to easily assimilate and in his introductory remarks violinist Roy Malan alluded to the composer’s clever compositional nature and the sobriquet of music’s “bad boy.” Both references have validity, though in at least the last century George Antheil could lay claim to both epithets. But Rorem is very much alive, each of his many books a salacious experience and his large oeuvre provocative, especially in the non-vocal pieces.

The Spring Music I found haunting, the three instrumental lines often far apart and then often in unison, and an insistent rhythmic pulse everywhere in evidence save for a lyrical Fantasia section. In this section cellist Jill Rachuy Brindel has long solos in a low register and in duos with Roy Malan’s violin line. Low frequencies in the cello were rich. Pianist Marilyn Thompson never overpowered her colleagues and the part oddly was frequently removed from the instrumental texture with loud bass chord crashes and propulsive right-hand skips for the piano and high tessitura for the violin.

This is a work of sharp contrasts and often contradictory character, and also it’s a piece of glorious instrumental sound that the composer manipulates deftly and the afternoon’s highlight for this reviewer. Was it well played? I suspect so, at least on a single hearing amid the less-than-reverberant acoustics of the room.

The first half ended with a late 19th Century novelty, Carl Frühling’s A Minor Trio, Op. 40. It’s Brahmsian from the first measure and through four movements never retreats from an initial bucolic outlook. There are continual harmonic references to Franck’s Quintet, written 20 years earlier, and to the music of Louis Vierne and St. Saens’ lush tone poem “Omphales’s Spinning Wheel.” At times thick and insurgent harmonies blurred the lyrical nature of the work and it was at turns repetitious. The Navarro played it with gusto and a sprinkle of wrong notes in the piano. The big Brahms-like phrases in the coda of the finale Allegro vivace brought this strange work to a powerful conclusion.

If Rorem could be described as clever and Frühling imitative, neither could be said of Beethoven and his E-Flat Major Trio, Op. 70, No. 2, the sole second half work. The Bonn master is endlessly inventive in this cheerful trio, a close partner in style and sound to the Op. 69 cello sonata. There was cohesive playing in the opening Poco sostenuto as well as the following two Allegretto movements. The Narvarro’s strengths were readily apparent, rhythmic security and etched vocal lines, but also some sloppy ensemble playing and persistent intonation problems from Mr. Malan. In the Allegro finale there was stylish playing, the movement’s joy readily communicated. No encore was offered.

Finishing another exemplary season the Trio Navarro continued its long string of exploration of provocative works with the Rorem’s bracing music overshadowing the lyrical Frühling and the systematic Beethoven reading. An energetic balance indeed for a warm spring day concert.