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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
CHORAL AND VOCAL REVIEW
American Bach Soloists / Friday, July 19, 2013
Jeffrey Thomas, director. American Bach Soloists Academy singers and instrumentalists

Director Jeffrey Thomas

BRILLIANT HANDEL ORATORIO COMPLETES ABS FESTIVAL

by Joanna Bramel Young
Friday, July 19, 2013

Nearing the close of its “Festival and Academy 2013” the American Bach Soloists outdid themselves once again July 19 in its presentation of Handel’s oratorio Esther, with full house at the San Francisco Conservatory of Music. During his early years in England, Handel turned to Racine’s masque Esther for the seeds of what in his hands grew into a new genre -- the English oratorio. Because the Bishop of London forbade dramatic performances, Handel presented Esther in concert, to the delight of English audiences; and it became one of his most popular works.

Jeffrey Thomas, the exacting conductor of ABS, pulled out all the stops to showcase a glorious recreation of this towering work, drawing forth both power and nuance from the ensemble of over 25 singers and orchestra. In the Jewish tradition the tale of Esther is the basis for the celebration of Purim, the leading characters being Esther, the young Jewish wife of the Persian king Ahasuerus; Haman, chief advisor to the king; Mordecai, Esther’s cousin; and King Ahasuerus; Persian officers and Israelites also appear. It is Esther who, in appealing to Ahasuerus, saves her people from the murderous plotting of the vengeful Haman.

Many Academy students filled major roles beside ABS regulars, fitting in seamlessly. Of the 12 soloists, 9 were students. One would scarcely have suspected this in observing the level at which they performed. The drama of the recitatives and arias was enhanced by the chorus-- so polished, so precise-- charged with commenting on the events and with giving voice to secondary characters. This reviewer was reminded of the ancient Greek chorus.

Following an overture, featuring strings and two oboes playing three richly colored movements, the dramatic business opened with the evil Haman, embodied by the excellent young bass Benjamin Kazez decreeing “Pluck root and branch from out the land: Shall I the God of Israel fear?” The double basses and cellos formed a solid ground for his deep, expressive voice. Acting as Persian soldiers, the chorus then repeated Haman’s command, revealing themselves as conspiring with him.

Nola Richardson, the soprano playing the Second Israelite, delivered a charming aria, “Tune your harps to songs of praise!,” and her coloratura part was echoed by flute and harp in an intricate obbligato melody. Although powerful, Ms. Richardson’s voice was also flexible enough to negotiate the fluid passages. Handel was able to imbue his works with great humanity, enabling audiences to empathize with his characters, regardless of how formal or abstract the text might be. His music resonates with heartfelt emotion, whether soulful or joyous. For instance, countertenor William Sauerland, portraying the Third Israelite, issued the wrenching alarm “Haman has sent forth his decree: The sons of Israel all shall in one ruin fall,” followed by the chorus’s moving lament “Ye sons of Israel mourn, Ye never to your country shall return!”

Soprano Megan Chartrand sang the part of Esther with great skill and warmth, her aria “Tears assist me, pity moving, Justice cruel, fraud reproving,” in 6/8 time, was accompanied by two oboes whose beseeching melody wove around her words. Her voice is clear, controlled, beautiful, and expressive. The duet between Esther and King Ahasuerus, “Who calls my parting soul to death?” is one of the most touching, lyrical offerings in the second half of the oratorio, the strings’ soft, pulsing bowings intensifying the emotion.

In the chorus “He comes, he comes to end our woes,” two natural horns accompanied, adding their pungent sonorities to the orchestra’s firm support. These valveless “hunting horns” negotiated their part skillfully, echoing the orchestra’s swirling melodies for the words “earth trembles!”-- the chorus ending in a great fugue, each part (orchestra and chorus) delivered with impressive clarity of line.

Haman’s pleading aria, “Turn not O thy face away,” was accompanied by lyrically moving, sighing violins; while Esther responded with the aria “Flatt’ring tongue, no more I hear thee . . . Bloody wretch, no more I fear thee,” Ms. Chartrand cutting loose with impassioned bursts on the words “tyrant” and “bloody wretch” spurred the audience to the edge of their seats.

Throughout the entire work one was aware of the reliability of the bass instruments, the great basses, violone, and cellos, faithfully tracking dynamic nuances while enjoying the flawless support of bassoon, harpsichord and organ. These mainstays thus offered a perfect balance between faint timidity and strong, reassuring presence. Handel’s bass lines (arguably rivaled only by Bach’s) were indeed the foundation upon which
Esther unfolded. Steven Lehning, with his handsome eight-foot violone, leads the section with the confidence and sensitivity to be expected of a longtime ABS regular.

In the closing great chorus, a trumpet was added to punctuate the jubilance of triumph over evil: “Lord our enemy has slain” and “Let Israel songs of joy repeat.” Two bass singers, Andrew Padgett and Brian Mummert, proclaimed “Mount Lebanon his firs resigns, descend ye cedars, haste ye pines to build the temples of the Lord,” accompanied by trumpet and oboes. And at last the chorus sang, with orchestra, “For ever blessed by thy holy name, Let heav’n and earth his praise proclaim.” Just before the final few words, conductor Jeffrey Thomas brought the entire orchestra and chorus to a heartstopping Grand Pause, several seconds long, holding the audience spellbound one last time, before the release of completion.

Another ABS artistic triumph, and a lengthy standing ovation followed by the awed, grateful house.