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Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
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.