Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
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

ďIs this my time to be alive and free?Ē 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 auditoriumís 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 ó 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. Carlsonís music, while firmly traditional, is often compelling, particularly in the ďVelocityĒ song in the middle of the cycle. Here there was no doubt about the oft-repeated main word ó velocity ó 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. Ferrandisí 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 Ysaˇe. The Sibelius may be difficult to play, but the Ysaˇe 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 Sibeliusí 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 scoreís 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]