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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
SYMPHONY REVIEW
Santa Rosa Symphony / Monday, May 14, 2012
Bruno Ferrandis, conductor. Jean Ferrandis, flute

Jean Ferrandis

AU REVOIR WELLS, BONJOUR GREEN

by Steve Osborn
Monday, May 14, 2012

The Santa Rosa Symphony bid adieu to the much-maligned Wells Fargo Center on May 14 with a mostly French program that showcased the talents of its French conductor, Bruno Ferrandis, and his equally French younger brother, the flute soloist Jean Ferrandis. This Castor and Pollux of the musical firmament shone brightly on the full house, which rewarded their luminescence with repeated standing ovations.

The evening began with some obligatory thank yous from executive director Alan Silow to Symphony musicians, sponsors, ushers and other staff for the past 30 years of music-making at the church-turned-auditorium on Santa Rosa’s north side. Despite its many acoustical defects, Wells does have a certain charm, and the transition to the much-vaunted Green Music Center in Rohnert Park seems certain to bring a few regrets.

After some more preliminaries, the program began in earnest with a tentative performance of Debussy’s ballet “Jeux” (Games), a somewhat obscure effort that is no match for the composer’s far more celebrated ballet, “Prelude to the Afternoon of a Faun.” The plot here involves a man, two women, a tennis court and a series of tennis balls whose bouncing punctuates the humans’ increasingly erotic encounters.

Imagining this plot unfolding on the stage was a bit of a challenge, as the music seemed mostly to float on a sea of Impressionist stasis. Maestro Ferrandis coaxed ethereal chords out of the various orchestra sections, and the sound was well controlled, but forward momentum was lacking. Instead of evoking a tennis game, the music behaved more like a soundtrack for a cartoon about pixies hovering above water lilies, their wands occasionally emitting clouds of fairy dust.

The forward momentum arrived in the next piece, Mozart’s Flute Concerto No. 2, ably played by Ferrandis No. 2, a virtuoso whose career began at roughly the same time the Symphony moved into Wells. Ferrandis the younger has a purity of tone and a dynamic range that is well suited to Mozart, who bids the flute to act more like an opera singer than a woodwind player. The first movement, with its soaring melody, is like one long aria culminating in an expressive cadenza. The fleet-fingered Ferrandis tossed off all the many runs with ease, revealing the underlying beauty.

In the ensuing Adagio, the younger Ferrandis sustained notes to the max, pushing the flute’s expressive potential. He played as quietly as possible, commanding undivided attention. The concluding Rondo was pure romp, with Ferrandis the soloist playing at warp speed and Ferrandis the conductor providing unexpected ritards and strong phrasing from the compliant orchestra. The standing ovation found the brothers arm in arm.

More ovations arrived after intermission. The first was for the rarely performed “Concerto for Flute and Orchestra” by the 20th century French composer Jacques Ibert. Ferrandis No. 2 again did the honors, this time clad in a white shirt rather than a dark jacket. Playing from score, he took off briskly and never let up. The concerto has much in common with the famous flute sonata by Ibert’s contemporary, Francis Poulenc. The music is happy, festive and carefree, filled with the bustle of Parisian life during the 1930s. The third movement, an Allegro scherzando, is the most striking, with virtuoso passages alternating repeatedly with languid interludes. At times, Ferrandis’ playing drew gasps from the audience, as he skittered nimbly from one end of his instrument to the other.

The concert concluded with an impassioned reading of Ravel’s “La Valse,” one of music’s great demonic masterworks. From the sinister beginning to the shattering finale, maestro Ferrandis and the orchestra’s many skilled players evoked all the darker aspects of the French composer’s homage to the decaying Austrian empire. The three-four beat was persistent and inexorable, solid from the first measure to the last.

“La Valse” is set in Vienna, but it plays well in Santa Rosa, a town whose musical signature--the “Merry Widow” waltz--was immortalized by Alfred Hitchcock in “Shadow of a Doubt.” Waltzes are forever nostalgic, evoking a distant or more recent past. For the Santa Rosa Symphony and the Wells Fargo Center, the 30-year dance is over. A new partner for the Symphony is waiting in the wings.