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Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital itís easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handelís seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if itís the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcellís Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the schoolís Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossiniís ďWilliam TellĒ overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonicís Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
CHORAL AND VOCAL REVIEW
Occidental Center for the Arts / Sunday, January 13, 2013
Santa Rosa Chamber Orchestra, Nicholas Xenelis, conductor. Norma Brown, piano; Jeff Chan, clarinet; Valerie Marshall, cello; Daniel Celidore, oboe; Paul Hadley, horn; Miranda Kincaid, bassoon; Christopher Fritzsche, countertenor

Nick Xenelis, Dan Celidore, Miranda Kinkaid, Paul Hadley and Jeffrey Chan

JAN. 13 OCCIDENTAL AND GUERNEVILLE PROGRAMS OPEN RIVER CONCERT SEASON

by Terry McNeill
Sunday, January 13, 2013

Russian Riverís winter concert season began Jan. 13 with two events at nearly the same location and time, both programs packed with abundant vocal qualities.

Sonia Tubridyís River Choir performed their annual Winterfest concert in the Guerneville Community Church before 30 ardent listeners. The 12-member choir, diminished from their usual number because of illness, began with a series of short works of Susato, Mozart, Andrejs Jansons, Schubert and Bach.

Director Tubridy did extra duty at the piano and even used a small rhythmic drum in Pietro Yonís "Gesu Bambino." First-half soloists included Kathrin Williams, Lois Pearlman, Jean Ashley and Tom Lowrie.

The balance of the concert was not heard due to a short drive to Occidental for the Santa Rosa Chamber Orchestraís concert in the townís cozy Performing Arts Center. A warm beginning was offered in the opening Clarinet Trio of Brahms, Op. 114, with pianist Norma Brown, clarinetist Jeffrey Chan and cellist Valerie Marshall. In each of the four movements, the players highlighted the innate lyricism of the work from Brahmsí last period.

Norma Brown is an old friend to this trio. She played with a subdued approach, probably because of the vacuous sound of the instrument she was given, and the composerís generally autumnal writing. I suspect itís also the way she perceives the piece, and her colleagues followed suit. Mr. Chan spun lovely phrases in the beginning Allegro and subsequent Adagio, and Ms. Marshall, overcoming some intonation and upper register difficulties, played with a flowing and full bottom register. At times the clarinet covered the other instruments, but after all itís a clarinet work. The unison playing in the closing Allegro was bracing, and the ensemble tidy.

Counterenor Christopher Fritzsche joined consummate oboist Daniel Celidore in selections from Vaughn Williamsí "Ten Blake Songs for High Voice," written a year before the composerís death in 1958. Beginning with "The Lamb," the interplay between the somber oboe line and the airy, occasionally melismatic singing was captivating. Often the two parts were far apart harmonically, the oboe playing seemingly giving no direct assistance to the singer. There are echoes here of the opera "Riders to the Sea." The monochromatic nature of the high vocal part, in Mr. Fritzscheís deliberately sparse phrasing, had a bit of menace. "A Poison Tree," "Ah! Sunflower," "Eternity" and "The Piper" were the final songs, the last the most jaunty.

Conductor Nicholas Xenelisí 19-member Santa Rosa Chamber Orchestra somehow found room on the small stage and concluded the concert with Mozartís Sinfonia Concertante for Oboe, Clarinet, Bassoon, Horn and Orchestra, K. 297b. Throughout the three-movement work, Mr. Xenelis favored leisurely tempos. The opening Allegro, with its numerous repeated expositions, tended to the deliberate. The conductor focused his attention on control of dynamics to exemplary effect, eliciting excellent ensemble in a sporadically scrappy orchestra sound, and his deference to the four soloists was deft. Mozartís masterful writing for winds was everywhere in evidence, and the conductor was in total command, rarely looking at the score before him.

In addition to Mr. Celidore, the soloists included Mr. Chan, bassoonist Miranda Kinkaid and hornist Paul Hadley. The pungent clarinet and oboe parts in this hall tended to overpower the upper strings (though not Bill Foutyís sonorous bass playing), and the E Flat tonality in the entire piece brought continuity and delectable long phrases to the thematic material. Under Mr. Xenelisí paced direction the music was iterative, but it never meandered.

In the 10-variation finale, the virtuosity of the solo quartet shone, especially the discourse of clarinet and oboe, resulting in a standing ovation from the 125 in attendance. Proceeds from the concert benefited the Performing Arts Center.