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Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
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...
RECITAL REVIEW
Green Music Center / Tuesday, April 09, 2013
Elina Garanša, mezzo soprano. Kevin Murphy, piano

Mezzo Soprano Elina Garanca

SONG CYCLES FOR CONNOISSEURS

by Terry McNeill
Tuesday, April 09, 2013

Elina Garanca’s April 9 Weill Hall recital was a connoisseur’s program, eschewing the more popular song literature and concentrating on mostly subtle and evocative works of Schumann, Berg and Richard Strauss.

With pianist Kevin Murphy, the Latvian mezzo soprano, famous from the opera stage as a sumptuous Carmen, programmed four of Schumann's Op. 25 "Myrthen" songs and the introspective and demanding cycle "Frauenliebe und -Leben," Op. 42. Beginning with “Widmung,” the Op. 25 group was delivered with quick tempos and minimal attention to warmth and color. There was artful balance in the familiar “Der Nussbaum,” with clear pianistic arpeggios, and more vocal power in “Jemand.” Mr. Murphy’s discerning pianism was always supportive and nuanced. In “Zwei Lieder der Brut” (Nos. 11 and 12), Ms. Garanca spun each of the soft-sung endings with delicate ritards.

"Frauenliebe und -Leben" is an eight-section work from 1840 setting out a woman’s love--through first contact, marriage and death--set to poems by Adelbert von Chamisso. Unlike Schubert’s song cycles with integrated piano parts, Schumann’s cycle has many stretches of independent piano parts and a lengthy postlude, here ethereally played by Mr. Murphy. There were quick transitions between sections and sporadically the singer moved to an operatic voice, filling the hall with glorious sound. “Du Ring an meinem Finger” was lovely with just the right tempo, the one big forte powerfully sung. In the final song, “Nun hast du mir den ersten Schemerz getan,” the pathos and sense of loss were palpable.

Following a change of gowns (shimmering grey to shimmering blue) Ms. Garanca also changed vocal gears with Berg’s "Seven Early Songs" from 1908. Here her voice had extra sonority and occasionally covered Mr. Murphy’s piano line. “Die Nachtigal” was performed forcefully and underscored the contrasting harmonies, and in “In Zimmer,” the piano and voice played off their contrasting lines with clipped endings. Mr. Murphy played one of his few fortissimo passages of the night in the opening of "Liebesode." Throughout, Ms. Garanca offered singing of assurance and communication, a highlight of the recital.

Six Richard Strauss songs closed the recital, and here again the singer avoided popular works in favor of the epicurean, although the well-known “Allerseelen” was included. The “All mein Gedanken” had the requisite frolicking character, and “Meinem Kinde” was captivatingly lyrical, with Mr. Murphy contributing a rippling piano part. Mr. Garanca floated a soft and high tessitura in “Leises Lied” and projected a weighty sound in the dramatic closing work, “Heimliche Aufforderung." Opera singing trumps lieder in much of Strauss.

Ms. Garanca rewarded the loud but not insistent applause of the audience of 850 with one encore, Brahms’ “Meine Liebe ist grün.” It was deftly sung, the phrasing earnest and exquisitely sculpted.