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Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
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.