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Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, November 12, 2011
Bruno Ferrandis, conductor; Tedi Papavrami, violin; Marie Plette, soprano

Soprano Marie Plette

ALIVE AND FREE, BUT HARD TO UNDERSTAND

by Steve Osborn
Saturday, November 12, 2011

“Is this my time to be alive and free?” That was the first intelligible question posed by soprano Marie Plette in her impassioned but often incomprehensible rendition of "The Promise of Time," a new song cycle by contemporary composer David Carlson. The work, part of the Magnum Opus project for new music, was performed Saturday by the Santa Rosa Symphony in a concert that also featured standard repertoire by Jean Sibelius: the Violin Concerto (with soloist Tedi Papavrami) and the Symphony No. 5.

The Carlson cycle, which consists of three songs with lyrics by poet Susan Kinsolving, offered an energetic beginning to the concert, with bright triplets and quintuplets propelling the orchestra forward. Plette entered forcefully, her powerful voice projecting well through the auditorium’s murky acoustics. She is clearly an operatic singer, with a pronounced vibrato and enough lung power to scare off the most nefarious villain. Unfortunately, the words she sang were often hard to discern.

Who to blame for the lack of intelligibility — the singer, the conductor, the orchestra, the composer, the librettist? All contributed, in one way or another. Plette was most intelligible on short, self-contained phrases, particularly when Music Director Bruno Ferrandis signaled the orchestra to back off. When she neared the top of her range, however, the words became less distinct.

Perhaps the solution would be to install a supertitle screen, or at least to leave the auditorium lights on so the audience can follow the text supplied with their programs. With those features in place, the performance might have been more rewarding. Carlson’s music, while firmly traditional, is often compelling, particularly in the “Velocity” song in the middle of the cycle. Here there was no doubt about the oft-repeated main word — velocity — and its musical equivalent.

Another type of intelligibility problem marred the performance of the Sibelius Violin Concerto. Albanian soloist Tedi Papavrami is a violinist of dazzling technical proficiency, able to nail the most treacherous double-stops, high notes, and fingerboard-spanning runs. He also has a luscious tone, particularly on the G string, where he returned again and again to bathe the auditorium in honeyed sound.

Where Papavrami fell short, however, was in his connection with orchestra and conductor. He stood ramrod straight at the front of the stage, with Ferrandis barely in his peripheral vision, and never once turned to face the orchestra. His sound projected well, but it never gelled with that of his fellow musicians. What emerged was more of an extended solo than a fully realized concerto.

The performance was riveting at times, particularly at the beginning of the second movement, when Papavrami played the entire opening passage on the G string, shifting seamlessly from top to bottom. The outer movements were sluggish in comparison. Ferrandis’ tempos were often too slow, and the result frequently lacked the necessary swing.

Despite these problems, the audience greeted Papavrami with a boisterous ovation, and after two curtain calls he launched into the Ballade by 19th-century violin virtuoso Eugene Ysa˙e. The Sibelius may be difficult to play, but the Ysa˙e is practically impossible, with an unending volley of harmonics, hemidemisemiquavers, and acrobatic bowing. Papavrami tossed all this off with ease, utterly confident in his technical ability.

Sibelius returned in the second half, in the form of his Symphony No. 5. Here at last the orchestra could come to the foreground, with nimble playing from its many sections. Their distinct sonic qualities are a key feature of Sibelius’ austere score, which often foregrounds individual woodwinds and brass against relatively simple accompaniment.

After an unsteady opening from the French horns, the first movement solidified with the entry of the strings, who produced a clean sound with distinct lines. Their long buildup climaxed in a stringendo passage with a wonderful bassoon solo. As more players joined the mix, a convincing narrative emerged. Ferrandis sprang to life, becoming more and more agitated as the orchestra hurtled toward a rollicking ending.

The French horns also began the slow second movement, this time with more confidence. Restraint was the order of the day, with each voice again distinct, particularly the flutes, who leaned into the score’s frequent dissonances before sweetly resolving them. The austerity of the instrumentation led to a fine dramatic tension, well-sustained until the final interchange between strings and woodwinds.

Unlike most symphonies, the Sibelius No. 5 has only three movements, another sign of its innovations. As usual, however, the last movement is Allegro, here with a "molto" appended to speed things up. Much of the speed falls on the strings, who in this case displayed excellent unison while playing long stretches of 16th notes. The movement seemed to drift in the middle, but a long crescendo featuring the various brass sections brought the work to a satisfying close. To answer the question posed by Plette at the beginning of the concert, it was a great time to be alive and free.

[Reprinted by permission of San Francisco Classical Voice]