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SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
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.