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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.]