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Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital itís easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handelís seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if itís the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcellís Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the schoolís Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossiniís ďWilliam TellĒ overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonicís Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
SYMPHONY REVIEW
Santa Rosa Symphony / Monday, December 12, 2011
Bruno Ferrandis, conductor. Karen Clift, soprano; Jubilant Sykes, baritone. Santa Rosa Symphony Honor Choir.

Composer Johannes Brahms

ORCHESTRA UNITED AT THE SANTA ROSA SYMPHONY

by Steve Osborn
Monday, December 12, 2011

Near the end of its Dec. 12 performance of the Brahms Requiem, a soprano in the Santa Rosa Symphony Honor Choir collapsed at the back of the stage, perhaps from excessive heat or lack of air. The incident wasn't surprising, since more than 100 singers were crammed shoulder to shoulder in the limited space. What was surprising was that the singers were able to project a unified sound, given that the assembled multitude was actually composed of four choirs, ranging from the Santa Rosa High School Chamber Singers to two choirs from Santa Rosa Junior College plus the venerable Sonoma Bach Choir.

Unanimity took a while to arrive, but when it did, the results were gratifying, particularly in the latter movements of the Requiem. Of these, the concluding seventh was the most affecting, where the lightly accompanied choir sang "Selig sind die Toten, die in dem Herrn sterben, von nun an" (Blessed are the dead which die in the Lord from henceforth). The ensemble was impeccable, gently urged forward by Maestro Bruno Ferrandis, whose fluid arm motions helped sustain each line and bring the piece to a heartfelt ending.

The singing in the preceding movements was less assured, yet the orchestra was rock-solid throughout. The violas seemed to relish being on top of the heap in the first movement, which has no violin parts. They led a strong beginning that was shortly marred by some intonation problems in the choir, which tended to go flat. These difficulties were compounded by Ferrandis' slow tempos and disconnected strokes. Phrases didn't flow into each other, and the music seemed to lurch.

By the second movement, the voices (and pitches) warmed up a notch, leading to some impressive crescendos and strong entries. Baritone soloist Jubilant Sykes took over in the third, strenuously pleading with the Lord to show that "mein Leben ein Ziel hat" (my life has an aim). His voice, which had been sadly amplified in the first half (more on that later), was both riveting and rounded, and his diction was superb.

In contrast, soprano Karen Clift, the soloist in the fifth movement, seemed constricted, her true voice barely emerging from an excess of vibrato. She sounded better in her lower range, and her swells were well controlled, but the overall performance was not up to the standard Sykes had set.

Alternating with the soloists throughout, the choir finally hit its stride in the fourth movement and sang out fully in the sixth, particularly in the section beginning "Denn es wird die Posaune schallen" (For the trumpet shall sound).

Trumpets of a different sort sounded in the first half, when Sykes sang the spirituals "Sometimes I Feel Like a Motherless Child" and "Were You There?" into an unnecessary microphone. Everyone knows that the acoustics at the Wells Fargo Center are bad, but they aren't bad enough to require a microphone, especially for a singer as powerful as Sykes. The Wells Fargo isn't Yankee Stadium.

As if to demonstrate the blessing and the curse of artificial sound, Sykes began "Sometimes" slightly below a whisper, gradually building up in volume while swooping and soaring from one end of his range to the other. The inevitable loud passages were simply too loud, his voice ricocheting around the theater from speakers suspended over the balconies. The same pattern repeated in "Were You There?" which culminates in the line "Sometimes I feel like shouting." And he did.

Before the spirituals, the orchestra warmed up the full house with a respectable but rather lackluster performance of Brahms' "Tragic Overture." In keeping with the expansive spirit of the evening, the ensemble was supplemented for the overture with about a dozen young musicians from the Symphony's Youth Orchestra. Both young and not-so-young played all the notes, yet the piece lacked shape, a formlessness compounded by Ferrandis' slow tempo.

Given that the Requiem was looming in the second half, the concert might have been better served by a more cheerful opener, such as Brahms' "Academic Festival Overture," followed by some microphone-free singing from Sykes. The amplification can wait until baseball season.

[Reprinted by permission of San Francisco Classical Voice.]