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Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
SYMPHONY REVIEW
Santa Rosa Symphony / Monday, December 03, 2012
Bruno Ferrandis, conductor; Christina Major, soprano; Christopher Bengochea, tenor; Santa Rosa Symphony Honor Choir

Soprano Christina Major

HER CUP RUNNETH OVER

by Steve Osborn
Monday, December 03, 2012

For its Dec. 3 “Titans of Opera” concert at the Green Music Center in Rohnert Park, the Santa Rosa Symphony assembled a titanic cast of players, including a full orchestra, an additional contingent of brass, woodwind and student players, an 80-voice chorus, and two soloists. The concert was long and the pieces many, but in the end, a solitary musician stole the show: the rising American soprano Christina Major.

If your name is your destiny, this powerful singer will have a major career. She brings a remarkable collection of skills to the task at hand: a powerful voice, excellent diction, a well-controlled vibrato, a stratospheric range, an expressive delivery and an imposing stage presence. All she needs is time and perhaps a lucky break before she ascends to Bayreuth or La Scala.

Those two opera houses are closely identified with the evening’s featured composers: Wagner and Verdi, in that order. The first half was entirely devoted to orchestral interludes from Wagner’s “Ring” cycle, and the second half to overtures, choruses and arias from selected Verdi operas. The combination was revelatory. Wagner, with his recurring leitmotifs and painterly orchestration, is a delight for the mind, whereas Verdi’s indelible melodies and ineluctable narratives go straight to the heart.

In the Wagner half of the concert, Maestro Bruno Ferrandis conveyed with his baton that the audience was not to applaud between pieces, thereby transforming the selections into a seven-movement “Ring Cycle suite,” with one interlude from Das Rheingold, two from Die Walküre, one from Siegfried, and three from Götterdämmerung. Listeners without the stamina or inclination to endure all four operas could get a good idea of their essence just by listening to these well-chosen excerpts.

The virtual suite began with the “Descent to Nibelheim” from Das Rheingold, which features murmuring strings and an extended crescendo that climaxes with imaginary dwarf blacksmiths pounding at anvils. From my wall-hugging side seat on the second floor of the music center, I couldn’t actually see the percussionists enacting the role of blacksmiths, but the effect was nonetheless riveting.

Next up was the famous “Ride of the Valkyries” from Die Walküre, known to millions of filmgoers as the helicopter music for “Apocalypse Now.” Despite the brisk tempi and the thunderous hordes of brass instruments, Ferrandis kept all his forces in check with remarkably spare movements, giving only the slightest indications for repeated crescendos and dramatic entrances. His basic modus operandi continued into “Wotan’s Farewell,” where he coaxed a tremendous sound from the trombones with a few slight motions of his left arm. Less is more.

For all its drama, Wagner’s music is oddly static. He is at his best when evoking a particular scene and then simply lingering, as in the ensuing “Forest Murmurs” from Siegfried. Here the lower strings offered a transcendent beginning, repeating a simple eight-note phrase to magical effect. The subsequent cello line was outstanding, as were the extended solos from a trio of veteran woodwind players: clarinetist Mark Wardlaw, flutist Kathleen Reynolds and oboist Laura Reynolds.

With all those imaginary trees, “Forest Murmurs” is inevitably dominated by woodwinds and strings. Likewise, the three concluding interludes from Götterdämmerung are dominated by Siegfried’s emblematic instrument, the French horn. In “Siegfried’s Rheinfahrt,” one of the many horn players (they stretched so far to stage right that I couldn’t see all of them) spirited his instrument offstage and offered a heroic solo. In “Siegfried’s Tod,” the horns, including four so-called Wagner tubas, supplied a brooding and dark rendition of several by now familiar leitmotifs. And in “Brünhilda’s Immolation,” the horns and everyone else within shouting distance joined together to bring the well-played suite to a fiery conclusion.

The Verdi half of the show began with a spirited rendition of the overture to Nabucco, with a handful of student players from the Symphony’s youth orchestra joining their elder colleagues. Nary a wrong note was to be heard, and many hitherto unobservant patrons seemed surprised when the young contingent stood up for a separate bow before leaving the stage.

Young musicians were even more prominent in the Symphony’s Honor Choir, which sat patiently in the Choral Circle behind the stage during the first half. Seemingly composed mostly of Sonoma State students, the choir numbered about 30 sopranos, 30 altos, 20 basses, and a mere six tenors. The university may need to recruit more higher-voiced young men to fill that gap.

Despite the tenor imbalance, the choir performed admirably in both the “Slave Chorus” from Nabucco and the beloved “Anvil Chorus” from Il Trovatore. They sang exuberantly, in excellent time with the orchestra. The a cappella section of the “Anvil Chorus” was especially well done.

Subsequent to those choruses, the star of the show, soprano Christina Major, drifted onto the stage in a floor-length purple dress with many drapes and folds. From the very first note of “Tacea la notte” (also from Il Trovatore), she asserted her irresistible presence. Although poorly lit (she would have benefited from a spotlight), she drew all eyes and ears with her confident high notes, impeccable coloratura and expressive gestures.

Tenor soloist Christopher Bengochea was weak by comparison. Singing “Di quella pira” from the same opera, he was by turns strident and overly dramatic. His middle and lower ranges were acceptable, but his higher notes verged on shouting. He was nonetheless a crowd-pleaser, gesturing repeatedly to the audience.

The “Triumphal March” from Aida followed, matching and even exceeding Wagner in brassiness, and then the tenor aria “Celeste Aida.” Five selections from La Traviata brought the show to a close, beginning with the delicately played Prelude to Act 1 and the fervently sung “Gypsy Chorus.”

The duet “Un di felice” offered a stark contrast between Bengochea’s stridency and Major’s gorgeous tone. Unlike their respective characters (Alfredo and Violetta), the two soloists never blended into a harmonious unit. Far better were the show-stopping “E strano” and “Sempre libera,” which flowed from Major’s lips in a torrent of emotion and bravura singing. Her phrasing was exquisite, and her high notes were superb.

Hoisting full wineglasses, the soloists ended the proceedings with a vivacious rendition of “Libiamo ne’ lieti calici” (drink from the happy goblets). In Major’s case, her cup runneth over.

[Reprinted by permission of San Francisco Classical Voice.]