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Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled ďAn Italian in Paris.Ē This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festivalís 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosaís Spring Lake Village Chamber Music Series. Before 140 in the Villageís auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosaís Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís Sonoma Overt...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, February 09, 2013
Bruno Ferrandis, conductor; Roy Zajac, clarinet

Clarinetist Roy Zajac

PLAYING HEARTS: IT'S ZAJAC IN SPADES

by Steve Osborn
Saturday, February 09, 2013

At symphony concerts, soloists need to be both sonically and visually distinctive. For the latter requirement, what better way to sail above a sea of black-jacketed players than to don a jaunty white blazer with black lapels and a black bowtie? That was the approach soloist Roy Zajac took in a memorable Feb. 9 performance of the Mozart Clarinet Concerto with the Santa Rosa Symphony.

By wearing his trademark "Za-jacket,"Ě Zajac established his distinction before even playing a note. When the notes did arrive, however, the jacket was as nothing compared to the sonic beauty emerging from the bell of his clarinet. His tone was both liquid and luxurious, each note a perfectly rounded sphere on a string of pearls. His low register was particularly mellow, with occasional deep runs bathing the audience in waves of sound.

Zajac, who normally serves as the Symphony's principal clarinetist, combined the sonic and visual realms by swaying demurely as he played, each motion reflecting a musical phrase. With his feet planted shoulder width apart, he bent at the knees for low notes, swayed right for Mozart's inimitable phrases, and then left for the phrase's echo. You could reconstruct the entirety of the solo line just by watching his ever-changing posture.

And what a solo line it is! The Clarinet Concerto is one of Mozart's greatest compositions, each movement a masterpiece, and the whole even greater than the sum of its parts. In this performance, the opening Allegro was lilting and buoyant, and the closing Rondo up-tempo and joyous. But the most breathtaking movement was the middle Adagio, blessed as it is with some of Mozart's most beautiful melodies. Zajac played these to perfection, coaxing the softest of pianissimos from his instrument and lingering on each passing note. Not even a brief memory lapse could interrupt the flow of this exquisite performance.

Afterward the shy Zajac seemed almost embarrassed by the audience's rousing ovation, and he appeared truly startled when a Symphony staff member presented him with a giant bouquet of yellow roses. With Valentine's Day rapidly approaching, the gesture seemed particularly appropriate. Who couldn't avoid falling in love with a performance such as that?

The rest of the concert, resplendent though it was, stood in Zajac's shadow. The festivities began with the full orchestra, including harp and all manner of imposing percussion and brass, playing Anton Webern's "Passacaglia for Orchestra," Opus 1. As one might expect from an Opus 1, it contained everything but the kitchen sink. Unlike his later austere works, Webern in his youth seemed intent on emulating Mahler and other late Romantics by employing the full forces of the orchestra to create a dense, almost overwhelming, tapestry of sound.

The Passacaglia begins pizzicato and pianissimo, with various sections of the orchestra stating their lines and then fading away. This call-and-response builds up rapidly, however, and soon the entire ensemble is blazing away, only to fade once again and repeat the pattern. The result is a piece that lunges from climax to climax, with little room to breathe.

Despite Webern's youthful excess, Ferrandis and company played the Passacaglia with insight and respect. The various lines were well articulated, and the orchestra combined to make occasional gorgeous sounds. But the Passacaglia can't be more than what it is. No matter what, it's still Opus 1.

In contrast to Webern's Opus 1, Brahms' Third Symphony, Opus 90, is a work of confident maturity and assured artistry, a staple of the symphonic repertoire. It begins majestically and ends with surprising quiescence. In between is some of Brahms' greatest music, most notably the Poco Allegretto third movement, with its distinctive cello line.

The Symphony cellists, urged on by Ferrandis, opened that movement with just the right combination of rhythmic fluidity and silken texture. Their line, eventually picked up by the rest of the orchestra, is really just three notes rising and then three notes falling--simplicity itself. But in the hands of Brahms (and his performers), that six-note motif flowers into a movement of transcendent beauty.

Ferrandis conducted that movement and its predecessors with sweeping gestures that befit his tall frame. His approach changed dramatically in the spirited last movement, where he seemed to get more energy and precision from the players by standing almost still. The more compressed his gestures became, the more results he got. The playing throughout was exemplary, especially from the cellos, who rose as a section at the end of the performance to acknowledge the sustained applause.

[Reprinted by permission of San Francisco Classical Voice.]