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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
RECITAL REVIEW
MasterCard Performance Series / Sunday, September 15, 2013
Renée Fleming, soprano. Gerald Martin Moore,piano

Soprano Renée Fleming

GOLD, SILVER, PLATINUM

by Steve Osborn
Sunday, September 15, 2013

Two songs into her first-ever concert at Weill Hall, Renée Fleming got a laugh by saying, "I'm so excited when I can still make a debut." At 54, Fleming has sung just about everywhere of any consequence, but she still brings a youthful enthusiasm to her performances, along with a youthful voice.

Those first two songs, sung to a nearly full house and lawn on a glorious September afternoon, were actually arias from Handel oratorios: "To Fleeting Pleasures" from Samson, and "O Sleep" from Semele. The latter was mesmerizing, starting on an elaborate glissando on the opening "O" that landed perfectly on pitch. Even more impressive was the fervor with which Fleming sang the plaintive lyrics: "O sleep, again deceive me, to my arms restore my wand'ring love!"

The Handel arias established a pattern that held true throughout the afternoon. Fleming sang with conviction, successfully inhabiting a series of operatic and musical characters, each one thoroughly convincing. Whether enacting Handel's Cleopatra or Leonard Bernstein's Maria, Fleming fit the part, even though her costume changed only once, at intermission.

For those intrigued by such matters, Fleming helpfully announced that the silvery gray evening gown and shawl she wore in the first half were by Vivian Westwood (an English designer famous for punk fashions), whereas the golden dress and coat of the second half were by Angel Sanchez (a Venezuelan with many star clients).

While the wardrobe helped focus attention on Fleming, all that really mattered was what came out of her mouth, and that was consistently excellent, with only a few minor blemishes. One of those arrived at the beginning of the second half, when she didn't quite slide into a high note in Erich Korngold's "Marietta's Lied" (Marietta's song). The other came a few songs later, when she was likewise flat in Puccini's "O mio babbino caro" (Oh my dear father). But the rest was musical nirvana.

Not to be ignored was her accompanist Gerald Martin Moore, a pianist of great delicacy and refinement who managed to summon an entire orchestra with just 10 fingers, two feet and an ever-so-slightly open piano lid. Fleming often gripped the edge of that lid with her right hand, standing comfortably inside the piano's sweeping curve.

Their program was as varied as two dozen songs could be, ranging from the Handel arias, to orchestral songs by Richard Strauss, to American folksongs, to Italian opera, to "The Sound of Music." From a musical standpoint, the three Strauss songs were the highlight of the afternoon.

After declaring Strauss to be her "desert island composer," Fleming launched into a feathery light performance of "Ständchen" (Serenade), giving full meaning to "The brook scarcely murmurs, the breeze scarcely stirs." She then abruptly shifted into the impassioned text of "Morgen" (Morning), executing a gripping crescendo on the opening line: "Und morgen wird die Sonne wieder scheinen" (And tomorrow the sun will shine again). Equally gripping was her rendition of the third Strauss song, "Zueignung" (Dedication). Her vibrato here was unobtrusive and carefully controlled, and her gestures were convincing.

Two folksongs by Joseph Canteloube were next, followed by Léo Delibes' wonderful "Les filles de Cadix" (The girls of Cadiz). Here Fleming's coloratura took center stage, as she slid deliriously from low note to high, channeling the soul of a Spanish maiden dancing the bolero. More folksongs followed, beginning with a medley of "The Water is Wide" and "Shenandoah," then moving on to "Wild Horses," by Jean Richie. Fleming hadn't quite memorized the Richie song, so she kept glancing at the text atop the piano lid.

The first half concluded with a somewhat peculiar rendition of the first few lines of The Declaration of Independence by the contemporary composer J. Todd Frazier. Jefferson's polysyllabic prose is about as far away from lyric as one can get, and the musical result was more of a recitative than a song.

The second half was mostly given over to lighter fare, with the notable exception of the opening number, Korngold's "Marietta's Lied." This fabulous aria makes one want to hear the rest of his rarely performed youthful opera Die tote Stadt (The Dead City). Despite the aforementioned blemish, Fleming brought Marietta fully to life, one of the afternoon's most memorable characters.

Two waltzy songs about Vienna followed, with Fleming in full swing, and then three Italian opera arias, including the Puccini. These were all well done, but there weren't any standouts.

The real crowd-pleasers came in the last part of the program, devoted to American musicals. Despite an initial memory lapse, Fleming clearly enunciated all the many words of Bernstein's "I Feel Pretty," and she gave a heartfelt performance of his "Somewhere," both from West Side Story. From there it was a hop, skip and a jump to "The Sound of Music" and "A Wonderful Guy."

Following boisterous applause, Fleming offered just one encore, "I could have danced all night," inducing the crowd to sing along as she improvised some vocal colorings and a resounding high note at the end.