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MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
SYMPHONY REVIEW
American Philharmonic Sonoma County / Sunday, February 5, 2012
Evan Craves, conductor;
Elena Ulyanova, piano

CRAVES DISPATCHES FLASHY PIECES IN EXCITING APSC CONCERT AT WELLS

by Terry McNeill
Sunday, February 5, 2012

Sonoma County’s insouciant American Philharmonic opened the first of its three spring concerts Feb. 5 with the Corsair Overture of Berlioz, and the work characterized the entire afternoon in the Wells Fargo Center – loud, flashy, trenchant and exciting.

Music Director candidate Evan Craves, formerly the APSC’s concertmaster, conducted largely without score, rare today and especially given the works at hand. It was even rare in the past, though Von Bulow conducted Tristan, Meistersinger and all the Beethoven Symphonies without music, as well and then playing the cycle of Beethoven Piano Sonatas. But now a conductor’s score is usually needed, and Mr. Craves looked at one only during the short Mahler work which appeared second on the program. The Berlioz was given quick a ride of just over nine minutes, the strings playing presto phrases and finally finding their unison footing well into the piece. The full brass section sounded triumphant. Here, and in the program’s final work, Miranda Kincaid’s bassoon playing was exemplary.

A sea change in sound occurred with the following Adagietto movement from Mahler’s Fifth Symphony. A signature piece for Santa Rosa Symphony conductor Corrick Brown in Wells, Mr. Craves’ languorous conception played off the beguiling notes from the harp with rich lower string playing, eliciting a broad vibrato and a shimmering sound. The hall was breathlessly quiet.

Rachmaninoff’s Rhapsody on a Theme of Paganini, Op. 34, concluded the first half with pianist Elena Ulyanova as soloist. The artist has been heard locally before in recitals for Concerts Grand and Robert Hayden’s Oakmont Concerts, and her playing in the lush set of 24 variations was similar to that of past appearances – highly dramatic and underscoring top treble notes and clearly articulating scale passages. Percussive sforzandos abound in Ms. Ulyanova’s conceptions, grabbing a listener’s attention but ultimately sounding affected. The pianist has a lovely pianissimo touch but at times at the quietest levels left-hand notes failed to sound. Perhaps the adage that one can’t play a real pianissimo in a large hall applies. The venerable 18th Variation in D Major (andante cantabile) was surprisingly played simply and with sparse ritards at the two climaxes. Ensemble with Mr. Craves was good.

To the applause of 800 Ms. Ulyanova added an encore, Scarlatti’s Sonata in B, K. 377, with driving momentum and a dry detache touch.

Kurt Erickson’s Toccata for Orchestra opened the second half, Mr. Craves holding the segmented piece together with thematic sections being traded off between strings, brass and winds. The Philharmonic made the best of the minimalist riffs, off-beat accents and entrances. Debra Ortega played the prominent piccolo part and the composer came to the stage to acknowledge the ovation.

A riot of scintillating orchestral sound came with the complete music from Falla’s 1919 ballet El Sombrero de Tres Picos, closing the program with much of the best playing of the afternoon. Again shunning a score, remarkable as the piece has manifold short sections, Mr. Craves drew an intoxicating blend of sonority from the APSC. Outstanding soloists included soprano Jody Benecke in two Flamenco-tinged arias, Nicholas Xenelis' limpid clarinet artistry, tympanist Gabe Sakakeeny, hornist Eric Anderson and Suzanne Eraldi's English horn. The music is crammed with startling effects, ranging from hand claps and raucous castanets to long Andalusian lines in the brass, and the suite sounded shorter than the 24 minutes of playing time, due to the conductor’s diligent control of his resonant musicians.

There was subtlety in the sonic commotion, typical of the entire afternoon’s performance.