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Recital
HOME RECITAL BACH COMPLETES HOLIDAY SEASON
by Terry McNeill
Saturday, December 30, 2017
The just closing 2017 year was a calamity for many, but locally in music there were joys galore, and it was fitting Dec. 30 have the balm of two Bach’s violin sonatas in a private Guerneville home recital hosted by the eminent musician Sonia Tubridy. Violinist Richard Heinberg joined Ms. Tubridy in...
Choral and Vocal
A SEASONAL MESSIAH WITH BALANCE AND HEFT
by Terry McNeill
Sunday, December 10, 2017
The mid-December concert season seems for jaded reviewers to invariably include a Messiah performance, and perhaps a Messiah in a long string of similar and mundane performances. This was decidedly not the case when San Francisco’s Philharmonia Baroque mounted Handel’s eminent three-part 1742 Orato...
Symphony
ANDREW GRAMS FINDS HIS GROOVE WITH SR SYMPHONY IN RACHMANINOFF
by Steve Osborn
Sunday, December 03, 2017
Last Sunday’s Santa Rosa Symphony concert featured two elegant and refined guests: music director candidate Andrew Grams and pianist Stewart Goodyear. Both displayed dazzling technique and consummate artistry, but Goodyear was the more consistent of the two. Some of Grams’ inconsistency may have st...
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...
SYMPHONY REVIEW
San Francisco Symphony / Thursday, January 31, 2013
Charles Dutoit, conductor. James Ehenes, violin

Conductor Charles Dutoit

LALO AND ELGAR WORKS HEARD IN SFS CONCERT IN WEILL

by Kenn Gartner
Thursday, January 31, 2013

Brilliant! That is the only word to convey the musicality, sound, and the panache the San Francisco Symphony achieved Jan. 31 in Weill Hall with of guest conductor Charles Dutoit. The sound extant during this balanced program was spectacular, and I have rarely heard such substantial fortes, ones which I had almost to cover my ears!

While the Hall’s Choral Circle’s seats were completely filled, the main section’s seats were half empty, a condition which allowed the Weill’s acoustics greater animation, despite the lowering the sound absorbing “window shades” along the walls.

Ravel’s Rhapsodie Espagnole was first on the program. Often conductors run the movements together, but Mr. Dutoit spaced the parts with a short pause between. A descending four-note motif, which appears throughout, had a thoroughly menacing effect. Clearly much of the work, indeed, most of the work, had occurred during rehearsal, and the conductor simply reminded the orchestra through his manifold gestures what should be done. If ever an orchestral work could be characterized as an “orchestral concerto,” this Ravel masterpiece from 1907 should be so labeled.

Lalo’s Symphonie Espagnole for Violin and Orchestra, Opus 21, followed. Canadian violinist James Ehnes was soloist and may be the first to perform in Weill Hall on a Stradivarius! The San Francisco Symphony’s concertmaster, Alexander Barantschik, plays a Guanerius. I was expecting a large sound from this violin but the high register did not to fill the hall as anticipated. This sonority increased a bit around the fifth section of the work, but the sound was not what one might expect from a violin of this caliber, and I must admit to some disappointment. Perhaps Mr. Ehnes put more emphasis into the performance at this moment, but for me, I had hoped for more. This violinist’s technique is masterful, and he faced every challenge in the score with aplomb, though the tone quality of the instrument did not match his or Weill Hall’s abilities. However, the audience stood, shouting bravos for quite a while, and produced large amount of applause. I too shouted bravo.

The final work on the program was Elgar’s Variations on an Original Theme, Opus 36, known as “Enigma.” There are fourteen variations upon an original theme and were composed in 1899. Each variation is a musical portrait of a friend or close acquaintance, and some of these variations have become quite familiar to audiences around the world. The only orchestral section in the entire program with which the conductor was less than successful was his too straightforward interpretation of the Nimrod or ninth variation. While other conductors may treat this music with too much sentiment, Mr. Dutoit’s interpretation was too careful and routine. I have actually seen tears come to audience members’ eyes whenever this movement is performed, and the Santa Rosa Symphony played it recently in a memorial concert.

It is not a musical requirement that the audience be so moved, but the popular work might have been more satisfactory with a broader, more emotional musical performance.