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Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
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.