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Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
RECITAL REVIEW
Green Music Center / Saturday, October 13, 2012
Karina Gauvin, soprano; Michael McMahon, piano.

Soprano Karina Gauvin

GAUVIN SPINS FRENCH SONG SORCERY IN INAUGURAL WEILL HALL VOCAL RECITAL

by Terry McNeill
Saturday, October 13, 2012

An incessant topic of audience conversation about acoustics in the newly-opened Weill Hall – where is best to sit, can the oboe be heard - has tended since the inaugural gala weekend to overshadow the actual performances. Canadian soprano Karina Gauvin put many of those notions to rest Oct. 13 with a splendid recital of mostly French art song before a half-full house.

With pianist Michael McMahon, Ms. Gauvin presented six groups of songs in French that, although it’s the singer’s native tongue, the French language can have too much sonic familiarity over a full recital. Singing in German or Italian, which Ms. Gauvin also commands, tends to have greater variety of style and of course different vowel and distinct sounds. The soprano avoided sonic monotony with richly varied tone colors and vocal expressiveness.

The singer, resplendent in a flowing blue gown that added to the impression of fluidity in French music, opened with four Hahn songs that included the magical Si Mes Vers Avient des alles. This reviewer has always loved the classic but brisk Bidú Sayão recording, but in Weil and in a recording with virtuoso pianist Marc Andre-Hamlin Ms. Gauvin slowed things down to great effect, and continued with a lovely reading of A Chloris. Harmonic interest is foremost in these songs and was highlighted in Le Printemps by Mr. McMahon’s fluid pianism.

Three Duparc songs came next and in Chanson triste Ms. Gauvin opened up with more volume, reflecting much of the music of Duparc’s contemporary Faure. Chanson triste has a long fermata for the piano, as Phidylé also does with a postlude, and Ms. Gauvin’s pianissimo control that hands off the phrase to her pianist was complete. She uses very little chest resonance in her lower tones that don’t carry well, the voice sometimes disappearing towards the back of the hall.

Massenet songs, again in a block of four, closed the first half. The frothy Madrigal led into the famous and sad Elegy, the tempo for both songs was just right and the soprano’s voice beautifully colored and focused. Les Femmes de Magdala, concerning women watching the world from the side of a road, produced an elegant call and response between the singer and pianist, and another bantamweight ending. The finale, L’improvisateur, was rollicking.

Ms. Gauvin developed a happy rapport with her audience that included two members of her family, and remarked in song introductions about certain composers and certain anniversaries that affected her program selections. She frequently used an infectious laugh to punctuate stories and all was genuine and felicitous.

Ms. Gauvin performed a second half of 14 songs, all with impeccable intonation and disparate characterizations that continued the fluency of French song by using her operatic power deftly. Debussy’s Nuit d’etoiles was sung masterfully and the following Mandoline had a jolly character. The rhapsodic Beau Soir was a highlight of the evening, sensuously sung with palpable emotional impact.

Honegger’s set of six songs, Saluste de Bartas, was an upbeat antidote to the more conventional harmonies of the preceding music. Standing out were the interpretations of Le Château du Bartas with its repetitive rhythmic patterns in the piano part and bell-like tones, and the operatic Tout le long de las Baïse where Ms. Gauvin slightly widened her vibrato to accentuate this delicate and mesmerizing song, her voice liking to go high with sotto voce notes.

In Bizet the full palette of Ms. Gauvin’s vocal color was applied to four songs, each individual and passionately sung. Adieux de ‘hôtesse arabe was presented with an undulating line in the piano and a seamless and controlled legato from Ms. Gauvin. Bizet songs with a Spanish flavor (Guitare and Ouvre ton coeur) were alternatively sung coquettishly and with a dissonant Seville flair, in contrast to the lively dance hall taste of the vivacious and exciting La coccinelle. Ms. Gauvin seems to own La coccinelle with abundant facial expressions and connection with her audience and the singing was virtuosic.

Mr. McMahon was a consummate partner the entire evening, his arpeggios smooth and sforzandos dramatic and adding perfectly to Ms. Gauvin’s singing. He seldom had much original to say with his playing and eschewed inner voices, though a singer could not ask for a more dependable pianist.

Two encores in English were offered, beginning with Weill’s “Buddy on the Night Shift” (from the Propaganda Songs of 1944) and a Scottish folk song transcribed by an unnamed Canadian composer (Ms. Gauvin herself? Mr. Hamelin?). Both were idiomatically and stylishly performed and were a delight to the audience, eliciting additional bravas.

Mary Beard contributed to this review.