Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
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]