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...
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...
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 ...
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint.
With the powerful pianist Orion Weiss in t...
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time.
Bach’s E m...
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
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 Ysaÿe. The Sibelius may be difficult to play, but the Ysaÿe 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]