Home  Reviews  Articles  Calendar  Presenters  Add Event     
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 it’s 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 Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s 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 Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s 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 Rossini’s “William Tell” 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 Philharmonic’s 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
American Philharmonic Sonoma County / Sunday, February 05, 2012
Evan Craves, conductor;
Elena Ulyanova, piano

CRAVES DISPATCHES FLASHY PIECES IN EXCITING APSC CONCERT AT WELLS

by Terry McNeill
Sunday, February 05, 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.