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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
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...
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...
Symphony
MONUMENTAL NIELSEN SYMPHONY CAPS SO CO PHIL CONCERT AT SR HS
by Terry McNeill
Saturday, January 27, 2018
Turning again away from conventional repertoire, the Sonoma County Philharmonic programmed Jan. 27 three works in what were local debut performances in Santa Rosa High School’s Performing Arts Center. Nielsen’s Fourth Symphony, Op. 29, called “Inextinguishable,” closed the program with an extravaga...
Chamber
ECLECTIC ANDERSON & ROE TRANSCRIPTIONS CAPTIVATE WEILL HALL AUDIENCE
by Nicki Bell
Sunday, January 21, 2018
From the first moment when Greg Anderson and Elizabeth Joy Roe walked Jan. 21 on the Weill Hall stage and spoke to the audience about their two-piano program, it was clear that an afternoon of drama, humor, virtuosity, warmth, transcendence and excitement was in store. This dynamic and mesmerizing ...
Chamber
BALCOM TRIO HIGHLIGHTS DELPHI'S RAC CONCERT IN OCCIDENTAL
by Sonia Morse Tubridy
Saturday, January 20, 2018
The Redwood Arts Council audience first met the Delphi Trio (Jeffrey LaDeur, (piano), Liana Berube (violin), and cellist Michelle Kwon) in 2013, and subsequent concerts in the same Occidental hall have become crowd favorites. The January 20th program before a capacity audience seemed to have enthus...
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.