Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
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.