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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 ...
Recital
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...
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.]