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Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 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 Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s 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 Rosa’s 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 Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s 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 Saëns, 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 Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, March 16, 2013
Bruno Ferrandis, conductor; Zuill Bailey, cello

Cellist Zuill Bailey

SWEPT AWAY

by Steve Osborn
Saturday, March 16, 2013

The title of the Santa Rosa Symphony's March 16 concert was "Sweeping Emotions," but no brooms were in evidence, nor did the Symphony play "The Sorcerer's Apprentice," the canonic broom piece, thanks to Disney’s iconic film "Fantasia." Instead of brooms, they offered cellist Zuill Bailey, whose mop of thick black hair might have qualified as a broom, although the rest of his frame would never be mistaken for a ramrod-straight broomstick. Indeed, there was nothing rigid whatsoever about his approach to playing the cello. He draped himself around his instrument as if it were a treasure chest, doling out pieces of eight and glistening emeralds in equal measure.

The mustachioed and bearded Bailey, clad entirely in black, could have passed for Johnny Depp in "Pirates of the Caribbean," but his interests were altruistic rather than plunderous. He shared his treasure chest with all in attendance, pulling sounds out of his 1693 Matteo Gofriller cello that might have lain dormant for centuries. His tone was big, rich, velvety, and succulent. His technique was likewise flawless, and his intonation was superb. Mr. Bailey's most captivating aspect, however, was his musicality. He played one of his star vehicles--the Elgar Cello Concerto--to the hilt, unsheathing some memorable passages but also exposing some of its flaws.

The Elgar concerto, made famous by cellist Jacqueline du Pré, is a lush late-Romantic work replete with soaring lines and cavernous descents. The artist connected with the concerto's essence in the opening bars, spinning out a solo line that plunged dramatically to a sustained, resonant, elegiac low note. By the time the violas entered with their "infinite tune," Mr. Bailey had already established a somber yet opulent mood, a feeling that the orchestra sustained brilliantly under conductor Bruno Ferrandis.

The first movement was the most memorable element, both of the concerto and the performance. Bailey swayed gently as he played, his luxuriant vibrato matching his body language. He looked up at the ceiling, then down to his cello, then over to Mr. Ferrandis, seeming to draw as much inspiration from his surroundings as from his musical core. His playing was emotional, nowhere more so than in the powerful pizzicatos that bring the movement to a close.

The soloist, who seemed utterly relaxed throughout his performance, transitioned seamlessly to the Allegro second movement, which features finger-twisting passagework and rapid bowing. These were perfectly executed, earning him a smattering of applause at movement's end. In contrast, the Adagio third movement was tender and thinly orchestrated, almost like chamber music.

The only problems were Elgar's, not Mr. Bailey's. Unlike most concertos, the Elgar has a fourth movement, which in this case not only recapitulates the preceding material, but also introduces a bevy of new ideas. Some of the components, such as the tremolo passages, are good, but the whole lacks focus, as if Elgar were uncertain how to bring the concerto to a close. Notwithstanding these compositional flaws, Mr. Bailey's playing was outstanding, ranging from barn-dance pyrotechnics to breathtaking pianissimos. He earned a standing ovation but sadly offered no encore.

The orchestral playing was also outstanding, beginning with Penderecki's "The Awakening of Jacob," moving through the Elgar and concluding with Tchaikovsky's Symphony No. 6, the "Pathétique." The Penderecki, from 1974, is a programmatic piece, effectively evoking Jacob's ladder through the repeated use of glissandos. These perpetual string slidings are punctuated at judicious moments by the brass and, most eerily, by a set of ocarinas (ancient flutes) played by the entire woodwind section. The piece was both concise and powerful, and it evoked some hearty applause.

Also evoking applause, even in the "wrong" places, was the orchestra's resplendent performance of the Tchaikovsky symphony, his last work. This magnificent composition, which in some ways encompasses all of Tchaikovsky's genius, begins and ends on a somber note but revels giddily in between. The orchestra's playing throughout was precise and well coordinated, its members breathing as one on Tchaikovsky's many crescendos and diminuendos, even as they kept perfect time.

Each movement was distinctive. The first, with its dense orchestration, featured Roy Zajac’s elegant clarinet solo, a wonderful descent from the tuba, and some invigorating Presto passages. The second, in a lilting 5/4 rhythm, moved forward steadily, with Mr. Ferrandis dancing his way around the podium. The third was almost miraculous. Keeping to a brisk tempo, the strings played flawlessly, and the entire orchestra sprinted forward with an irresistible, infectious beat. The repeated iterations of the march theme drew actual gasps from the audience, which burst into applause at movement's end.

When the clapping subsided, Mr. Ferrandis and company returned to the difficult task of playing Tchaikovsky's final lament. Here the orchestral unanimity was compelling, the tragic theme moving deftly from the upper strings, to the French horns, and ultimately to the cellos and basses. At the end, Mr. Ferrandis paused for a long moment before lowering his arms. Even then, he gestured toward the orchestra before turning to face the audience, which seemed thoroughly swept up in the emotions of the evening.