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Recital
HOME RECITAL BACH COMPLETES HOLIDAY SEASON
by Terry McNeill
Saturday, December 30, 2017
The just closing 2017 year was a calamity for many, but locally in music there were joys galore, and it was fitting Dec. 30 have the balm of two Bach’s violin sonatas in a private Guerneville home recital hosted by the eminent musician Sonia Tubridy. Violinist Richard Heinberg joined Ms. Tubridy in...
Choral and Vocal
A SEASONAL MESSIAH WITH BALANCE AND HEFT
by Terry McNeill
Sunday, December 10, 2017
The mid-December concert season seems for jaded reviewers to invariably include a Messiah performance, and perhaps a Messiah in a long string of similar and mundane performances. This was decidedly not the case when San Francisco’s Philharmonia Baroque mounted Handel’s eminent three-part 1742 Orato...
Symphony
ANDREW GRAMS FINDS HIS GROOVE WITH SR SYMPHONY IN RACHMANINOFF
by Steve Osborn
Sunday, December 03, 2017
Last Sunday’s Santa Rosa Symphony concert featured two elegant and refined guests: music director candidate Andrew Grams and pianist Stewart Goodyear. Both displayed dazzling technique and consummate artistry, but Goodyear was the more consistent of the two. Some of Grams’ inconsistency may have st...
Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
RECITAL REVIEW
Green Music Center / Sunday, April 21, 2013
Tara Erraught, mezzo soprano. Marelo Amaral, piano.

Mezzo Soprano Tara Erraught

MESMERIZING IRISH MEZZO TELLS STORIES IN WEILL SONG RECITAL

by Vaida Falconbridge
Sunday, April 21, 2013

There were stories of fiery gypsies, dances, kisses, deep angst, unrequited love, mermaids, and headstrong young maidens. Irish-born mezzo soprano Tara Erraught told her Weill Hall audience April 21 in her lilting Irish brogue, “People ask why I pick the programs the way I do. Well, being from Ireland, one has to be a storyteller. So I’ve chosen these songs because I love these stories!” And tell them convincingly she did, with a stunning vocal instrument, wonderfully animated facial expressions, sparkling eyes, beaming smiles, and total commitment to the text.

Dvorak is best known for his symphonic works and concerti, but he wrote songs with piano throughout his life. Although some were composed in German, because of his nationalistic bent he generally preferred Czech folk lyrics and rustic Slavic poetry. His Vier Lieder, or Four Songs (Op. 82) opened the program and was a homage to Schubert.

The songs were varied in mood and tempo, offering a mostly positive first impression of Ms. Erraught’s artistry, tonal palette, and diction. She has an exciting and excellent top, but the low range not as substantial as expected for a mezzo, at least in this group (the Rossini and Handel later in the program were very well-balanced), and she has great facility and ease with the German language. This was more than confirmed with the outstanding Brahms “Gypsy Songs” and Wolf “Morike Lieder” later in the program.

Mostly remembered for his Roman tone poems, songs by Respighi are not often heard on recitals, although he wrote beautifully for the voice and was married to the singer Elsa Olivieri-Sangiacomo. Of the three Respighi selections performed by Ms. Erraught, “Nebbie” (Fog) is probably the best known, due to the highly memorable and haunting descending/ascending melodic pattern. It was elegantly sung.

The first half ended with Brahms’ “Gypsy Songs.” Op 103. With 11 songs in the set, they were originally written in 1887-1888 for a quartet of voices and piano; Brahms arranged Nos. 1 to 7 and 11 for solo voice and piano in 1889, and these eight were sung by Ms. Erraught with brilliance of tone, vibrant shimmering high notes, and exciting dynamic contrasts.

Coming back for the second half wearing a royal blue Grecian-style gown, Ms. Erraught sang six of Wolf’s “Morike Lieder.” Wolf, whose greatest musical influence was Wagner, was best known for his lieder, and his temperament and sensitive poetic discernment lead him to more intimate and subjective musical forms. Again, in singing a group with wide demands in terms of range, color and dynamics, I heard in Ms. Erraught an accomplished, elegant, tasteful, and perceptive performer. One minor quibble: in some slower and soft passages the “oh” and “ah” vowels were at times too far back, resulting in a slightly throaty spread quality that affected the vibrato on the sustained last notes of certain phrases and thus lost intensity in her portrayal of the text .

Saving the best for last in Handel and Rossini arias the singer, as they say, knocked it out of the park. “Dopo notte,” from Ariodante, could not have been a bigger contrast from the Wolf miniatures. With jaw-dropping agility and speed, loads of clean, accurate trills, impressive evenness of scale from top to bottom (and back up again and again and again), it was a total showpiece. “Lascia ch’io pianga” from Rinaldo featured a lovely legato and a nicely-ornamented da capo section.

“Una voce poco fa” from Rossini’s Barbiere di Siviglia is sometimes considered a ‘warhorse,’ but it’s always an aria where a singer can prove her bonafides and bid to be added to the list of greats who have gone before. There’s no doubt, Tara Erraught is fast. Furiously fast. Think Cecilia Bartoli-fast. At that point, the audience was more than ready to express their appreciation with a standing ovation, which earned them the pleasure of two encores.

“It would be wrong to come all the way from Ireland and not sing ‘Danny Boy,’ “ she told us, and then sang it so poignantly and gorgeously you could have heard the proverbial pin drop in the hall. The second encore was yet another barnburner, “Non piu mesta” from Rossini’s La Cenerentola (Cinderella), with two-octave-plus runs and trills galore at breakneck speed, again performed fearlessly and flawlessly.

It would also be wrong not to acknowledge the superb pianist Jonathan Ware in his first collaboration with Ms. Erraught. She shared from the stage, “We’ve had a ball in rehearsals, so I hope that’s coming through this afternoon.” It did indeed.