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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
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 River’s winter concert season began Jan. 13 with two events at nearly the same location and time, both programs packed with abundant vocal qualities.

Sonia Tubridy’s 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 Yon’s "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 Orchestra’s concert in the town’s 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 Brahms’ 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 composer’s generally autumnal writing. I suspect it’s 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 it’s 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 Williams’ "Ten Blake Songs for High Voice," written a year before the composer’s 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. Fritzsche’s 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 Xenelis’ 19-member Santa Rosa Chamber Orchestra somehow found room on the small stage and concluded the concert with Mozart’s 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. Mozart’s 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 Fouty’s sonorous bass playing), and the E Flat tonality in the entire piece brought continuity and delectable long phrases to the thematic material. Under Mr. Xenelis’ 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.