THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport.
Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater.
Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
Pianist Jean Philippe Collard
SANTA ROSA SYMPHONY: HEAR AND NOW
by Steve Osborn
Saturday, November 03, 2012
For the long-suffering patrons of the Santa Rosa Symphony, the acoustics at the new Green Music Center have come as a true revelation. To be fair, the Symphony’s former venue — the Wells Fargo Center — was never intended as a concert hall. It began life as a New Age church, complete with low ceilings, wall-to-wall carpeting, and a sound system designed for uplifting sermons and Christian rock. To hear the Symphony play there was like observing it at the bottom of an elevator shaft and contenting yourself with whatever sounds managed to reach your ears.
In delightful contrast, the acoustics at the GMC bring every orchestral peep and bow stroke straight to your auditory canal, where they burst into flavor, like fine wine on your palate. Under these new circumstances, the Symphony — which sounded pretty good even at the Wells Fargo — is revealed to be a truly wonderful local orchestra, with some standout players who would be right at home in major-league ensembles in New York, Chicago, or San Francisco.
Just how good is the Santa Rosa band? Judging from its all-French program Saturday at the GMC, the answer is “fantastique.” Whether it can approach its San Francisco cousins in talent will be a matter of much debate when the latter ensemble travels to the GMC next month. In the meantime, North Bay music lovers can revel in their orchestra’s newfound sonic brilliance.
That brilliance was on particular display in the third movement of Berlioz’s “Symphonie Fantastique,” the concluding piece on a program that also embraced works by Saint-Saëns and the contemporary composer Martin Matalon. The movement began with a gorgeous duet between English hornist Bennie Cottone and off-stage oboist Laura Reynolds. The sound of each instrument was crystalline, floating through the air like the cooings of a pair of mourning doves. The orchestral accompaniment, when it arrived, was by turns a babbling brook or a raging torrent, with the dynamics and velocity pirouetting at a moment’s notice. The ensuing clarinet solo by Roy Zajac was elegant, and the concluding dialogue between English horn and timpani was mesmerizing.
From start to finish, the performance of “Symphonie Fantastique” was an object lesson is orchestral expressivity. Music Director Bruno Ferrandis, restraining himself to a podium that seems much too small for his dancelike gestures, was in perpetual motion, producing strong dynamic contrasts throughout Berlioz’ masterpiece. The beginning was hushed, with great sound from the basses. The inevitable crescendo was both energetic and shapely, culminating in a convincing display of orchestral might, particularly from the violins.
The second-movement waltz was fresh as well as lilting, with brisk tempos and fully engaged players. The clarinet duet near the end was especially charming, leading to a smattering of applause. After the gorgeous middle movement, the fourth and fifth movements made for a long cascade of increasingly dense and frantic sound. The famous “march to the scaffold” in the fourth was marked by strong contrasts and quickening tempo. The fifth, with its bass drums, orchestral bells, and relentless “Dies Irae” theme, was a headlong rush to ecstasy. Every section of the orchestra sounded terrific, nowhere more so than when the strings suddenly began playing “col legno,” hitting their instruments with their bows. It was a signature moment in an inspired performance.
The performances in the first half were likewise inspired, even if the music was not. The evening began with Martin Matalon’s “De tiempo y de metal” (Of time and of metal), which premiered in 2010 at the Abbey of Noirlac in France. Matalon, an Argentine who lives in Paris, conceived the piece, which is scored for a dozen brass instruments, as a kind of homage to the antiphonal works that Gabrieli and other 16th-century composers wrote for St. Mark’s in Venice. Indeed, the Santa Rosa musicians prefaced their performance with a quick spin through Gabrieli’s “Song for First Tones,” dated 1597.
The players were arranged on the stage somewhat antiphonally, with a pair of trumpets on each side, four French horns clustered in the middle, and three trombones and a tuba dispersed betwixt and between. The piece began quietly, with muted fast runs from the trumpets punctuated by occasional blats from the tuba. There seemed to be as much silence as sound, yet the silences were filled with the hypnotic stroke of Mr. Ferrandis’ baton, which kept a steady beat throughout.
“De tiempo y de metal” lived up to its title, with both a strong temporal element and an inventive exploration of the sounds made by metal instruments, from rushing wind to full-throated roar. The ending was effective, as were certain sections, but the piece mostly sounded academic, more concerned with cataloging possibilities than harnessing them to something larger.
Similar problems afflicted the Piano Concerto No. 2 by Camille Saint-Saëns, ably performed by Jean-Philippe Collard. Saint-Saëns suffered from an excess of facility, the notes pouring from his pen in an unending stream of Romantic abandon. His second piano concerto, the only one of five performed with any regularity, features a captivating scherzo in the middle, but the outer movements are a continuous blur of notes without any definite direction, an overwhelming sauce that drowns the dinner beneath.
Collard proved himself capable of playing any notes Saint-Saëns threw his way, from the resonant bass chords at the beginning of the first movement, to the many descending cascades in the middle and to the long cadenza at the end. He used lots of pedal and made a prodigious sound, more than matching the orchestra in volume. He seemed to grow stronger as the concerto wore on, building up some genuine excitement in the concluding movement, but in the end Saint-Saëns lies beneath his talent. A better concerto would have made a good concert great.
[Reprinted with permission from San Francisco Classical Voice.]