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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
OPERA REVIEW
Sonoma State University Musicians and Dancers / Thursday, February 07, 2013
Sonoma State University Orchestra, conducted by Lynne Morrow. Danielle Cain, stage director. Soloists: Sara Sims, Canela Fulbright McCoubrey, Talia Trozzo (Vaughan Williams) and Katie Foster and Kathleen Barnes (Haydn)

Sara Sims, Canela McCoubrey and Talia Trozzo in Riders to the Sea (L. Mullins photo)

OPERATIC TWIN BILL OPENS AT SONOMA STATE

by Terry McNeill
Thursday, February 07, 2013

Two one-act operas--Haydn's "The Deserted Island" and Vaughan Williams' "Riders to the Sea"--currently being mounted by Sonoma State University's music, theater and dance departments, reflect the University's usual innovative staging and production. On the Feb. 7 opening night Person Theater's 400 seats were two-thirds filled, overwhelmingly by students. Both operas were in English and had supertitles. Is this common for our common language?

Haydn is known mainly today through his masterful symphonies, quartets and perhaps the keyboard sonatas. He wrote at least 14 operas, however, including the 1779 buff opera the buffa "l'Isola Disabitata," performed here in translation as "The Deserted Island." Conductor Lynne Morrow crafted a one 55-minute act from the original two-act version, and led a sprightly overture that with just 12 instruments resounded from the pit into the hall. The cello and bass parts (Laura McClellan and Steven Hoffman) carried well out of the pit, as did Ruth Wilson's horn playing.

Sonic problems began quickly with the appearance of sopranos Kathryn Foster and Kathleen Barnes, as the individual microphones gave an irritating electronic echo at the end of any sound above a mezzo forte. This was ultimately corrected and the singers settled down to performing the silly plot of separated spouses reuniting, and strangers about to be united, on the island of the title.

Peter Crompton's set design had low platform and large rock (the latter fits into the action as a carving stone) backed by a 20-foot round moon, with colors constantly changing. Now much happens with stage direction in this frothy opera, the scenes directed by Danielle Cain, and each vignette melds into the previous one. There is a lot of recitative and some witless stage walking as boys search for girls, and ultimately at least one girl searches for a boy.

Nonetheless, the bouncy Haydn score and deft singing were engaging. Ted Smith's Gernando, the character beached to find a lost mate, was resonantly sung, as was Ms. Barnes' Silvia with a secure top to her voice. Tenor Max Jennings (Enrico) has a small voice and not an especially colorful one for the part, but was careful to never upstage Mr. Smith as he courted the fetching Ms. Barnes, a novice in the ways of men and love.

The audience response to the final chords was raucous and clearly many of the loudest cheers came from friends of the cast. Ms. Morrow received a separate ovation.

Following intermission Vaughan Williams' 45-minute opera "Riders to the Sea" dampened any lingering Haydn frivolity. The set of this somber 1937 work depicted a seaside home of barren timbers, tattered fish netting drapes and stark Irish furniture. Material colors were drab and quickly set a depressive mood. The backdrop of the Deserted Island's first half moon had evolved into a changeable seascape, augmented by adroit lighting by designer Theo Bridant.

The cast was uniformly excellent, especially Sarah Sims' compelling singing of the daughter Nora's role and Talia Trozzo's woeful portrayal of the tragedy-struck family matriarch Maurye. In the early sections of the opera the composer introduces an ascending short leitmotif that precedes many of the short recitatives, and reflects the crushing series of deaths at sea that has been the family's fate. The piano, played by Yvonne Wormer, and Julia Harrell's percussion performance were stellar parts of the evocative sound Ms. Morrow's clear beat drew from the orchestra.

Seemingly innocuous events in this drama impacted the psychology of the singers, from Ms. Sims and Canela Fullbright McCoubrey folding laundry while speaking of their dead brother, to the penetrating look Ms. Trozzo gave to her last son Bartley, departing for his ride to the sea and his demise. A nine-woman chorus, swathed in heavy red cloaks that made them appear almost as apparitions, added to the vocal fabric in melisma. The play of ethereal orchestral sound, the lamenting chorus, Daniel Celidore's mournful oboe solo and Ms. Trozzo's palpable anguish were powerfully present over the last section of the opera. The wash of the sea, through the auditorium's speakers, was a benediction.

The ovation that followed, students recognizing cast members and being moved by the dark tableau, was loud and perhaps slightly incongruous given the stark drama they had just witnessed.

Additional production dates and times are listed in the Calendar tab at www.classicalsonoma.org, including a Feb. 13 matinee performance