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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
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
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...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
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 REVIEW
Mendocino Music Festival / Saturday, July 13, 2013
Music Festival Orchestra, Daniel Pollack, conductor. James D'Leon, piano

Concertmaster Roy Malan (l) with Alan Pollack and James D'León July 13

MUSCULAR MUSIC OPENS MENDO FESTIVAL

by Terry McNeill
Saturday, July 13, 2013

Programming the opening concert for the 27th Mendocino Music Festival is not a daunting task, but it’s one that should play to the strengths of the orchestra and the audience. No Schnittke or Elliott Carter in the mix. Conductor Alan Pollack deftly chose rousing and accessible works for the July 13 event before a boisterous full house in the massive white tent on the coast bluff.

Verdi’s overture to the opera “I Vespri Siciliani” launched the 23-concert Festival in a pungent performance that Mr. Pollack crafted with large sonic contrasts and an emphasis on the Italian flavor of the piece. From my stage right seat the brass and low strings dominated the violins and winds, and the conductor pushed the tempos and momentum to an exciting conclusion. There was only a nod here and there to phrase ritards and soft passages, and the large 70-person orchestra responded adroitly to Mr. Pollack’s animated baton and desire for a big sound.

Sonic splendor had continued emphasis with Prokofiev’s First Suite, Op. 64bis, from the mid 1930s ballet Romero and Juliet. In seven parts, the Suite is pure program music and audience appreciation could have been enhanced by a printed description of each section (the program incorrectly listed another Prokofiev ballet Suite). The symphonic balance was improved by a seat change to the middle of row three, and now the strings could not only be seen but heard. However there was little change from the Verdi in Mr. Pollack’s conception of the evocative Prokofiev score. It was a big-boned reading throughout, beginning with a dreamy and loud “Folk Ball” and ending with a sultry and sarcastic dance swelling to a romantic swirl in “Death of Tybalt.”

Along the way were lovely instrumental moments: clarinetist Arthur Austin and Carolyn Lockhart’s (bassoon) solos in ”Street Awakens”; flutist Mindy Rosenfeld and piccolo player Kathleen Reynolds in the “Minuet”; brass fanfares in “Masks” and always the conductor’s careful control of the big climaxes and contrasts. Principal trumpet Scott Macomber received a solo bow request from Mr. Pollack and a rousing ovation from 750 in attendance.

Following intermission the Rachmaninoff C Minor Piano Concerto, Op. 18, should have been the concert’s capstone, but curiously received a performance where the whole wasn’t the sum of the component parts. Pianist James D’León elected a mostly non-legato approach to the soaring solo line, perhaps necessitated by an overly bright and thin top end in the piano and Mr. Pollack’s interest in weighty sonority over tender pianissimo.

In the opening Moderato the tempos were judicious and playing effective, but the orchestra often covered the piano part, including the coda and the final three chords. In the lovely Adagio Sostenuto Mr. D’León produced a more warn tone, especially in the duos with the clarinet, and highlighted several inner voices in descending figures. Oddly a few notes were smudged in this most popular music, and he used a score resting on the tuning pins.

Balances in the concluding Allegro Scherzando were the best of the night and Mr. D’León’s trills were even and the contrapuntal lines clear. The playing from the Orchestra’s violin sections was lush and only occasionally did they wrest the poetic melodic line from the pianist. Acoustics in this wide tent favor the Orchestra over the pianist, not a surprise given Mr. Pollack’s vociferous demands and his muscular view of the celebrated score.

Strange for an initial Festival concert was the lack of any welcoming remarks by management, talk from the conductor or even a warning to silence cell phones. Mr. Pollack clearly knows what he wants and can bend an artistic unity to his wishes.

Wotan Rock contributed to this review.