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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
SYMPHONY REVIEW
Mastercard Performance Series / Tuesday, July 16, 2013
Russian National Orchestra. Carlo Montanaro, conductor. Jean-Yves Thibaudet, piano. Sarah Chang, violin

Russian National Orchestra

CHANG AND THIBAUDET WITH A RUSSIAN TWIST

by Terry McNeill
Tuesday, July 16, 2013

It's always a formidable task for a performer to appear last on a program after wildly successful performances earlier in the concert. That unenviable job fell to violinist Sarah Chang July 16 when she played the Barber Concerto, Op. 14, with the Russian National Orchestra in Weill Hall, following a splashy St. Saëns piano concerto and a riveting Shostakovich overture.

The Barber is ever lyrical, even in the perpetual motion finale, and throughout its 23-minute duration the bucolic nature of the work never quite gives over to extended virtuoso passages for the violin. Ms. Chang had a shaky start with intonation problems, but these were quickly resolved, and her command of the instrument's high E string notes was often thrilling. In the second movement Ms. Chang echoed Vitaly Nazarov's majestic oboe solo and widened her vibrato, the ending chord held to a lovely length by conductor Carlo Montanaro. The finale (Presto) was never a race, and Ms. Chang's flaying but accurate bow brought a rousing conclusion and loud applause.

St. Saëns' F Major Concerto (Egyptian) has never quite gotten its due, as the composer's popular G Minor concerto (No. 2) is often performed and the tighter and more introverted C Minor (No. 4) has slipped from the repertoire. Jean-Yves Thibaudet has been on a 10-year quest to change that, playing the Egyptian Concerto all over the world and recording it several times. He now seems to own it, ripping through the showy solo part with abandon, with occasional pungent left-hand sforzandi and continual forceful attacks. In the Allegro, most of the scale passages were played very fast and with half pedal, sacrificing clarity for a colorful wash of notes. This technique suited the music, and the orchestra responded perfectly at every juncture. The Andante, with ersatz Egyptian motifs, was performed lovingly, the ending tremolo in the cellos eerie and carrying to the back of the hall.

Speed returned in the Allegro finale. Mr. Montanaro asked for, and received, tumultuous climaxes from the orchestra. Mr. Thibaudet's right-hand skips were not always accurate, but the ascending interlocking-chord cadenza near the end was controlled thunder. Mr. Montanaro reined in the orchestra with an abrupt decrescendo just before the final potent chords. Exquisite.

This sensational performance brought the audience of 1,200 to its feet. After four curtain calls, Mr. Thibaudet played a long but limpid and chaste encore, Ravel's "Pavane pour une Infante défunte."

With two big-name soloists, how was the Russian National Orchestra under Mr. Montanaro? Fine indeed, as they showed in the concert's beginning with the fast-paced Shostakovich Festive Overture, Op. 96. The opening brass fanfare had sharp bite, and the winds and strings played a fast four-note theme with precision. It was an impeccable performance. One wonders if the Russian National crew could play this overture in their sleep.