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Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 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...
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...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, November 10, 2013
Bruno Ferrandis, conductor. Maya Beiser, cello

RISE AND SHINE

by Steve Osborn
Sunday, November 10, 2013

In the advertising images promoting her Nov. 9-11 appearances with the Santa Rosa Symphony, cellist Maya Beiser is cast as an enchantress, her long golden-brown hair billowing around her brightly light face, centered on her bewitching blue eyes. She holds the cello neck as if it were a wand, preparing to cast a spell over her mesmerized beholders.

The enchantress image continued as Beiser teetered onto the stage on Sunday afternoon, Nov. 10, atop a pair of stiletto heels, with not only her hair, but also a floor-length golden-brown dress wafting behind her like a cumulonimbus cloud. She then spent several anxious moments clambering up the cello podium, rearranging the many folds of her dress to accommodate the cello, and finally fitting bow to string. "She would have done better in a pantsuit," remarked a fashion critic in the row behind me.

Would that wardrobe were Beiser's only problem. The sound that emerged from her instrument at the beginning of Osvaldo Golijov's "Mariel" was thin and hard to hear, despite an electronic pickup attached to the cello's bridge. The piece, originally for cello and marimba, is an elegy for one of the composer's friends, and the intensity of feeling is immediately apparent in the orchestral opening--an intensity that Beiser failed to match.

Beiser's lack of focus was nowhere more evident than in a brief moment when she appeared to lose her grip on the cello's neck and it began sliding downward off the podium. She caught it in plenty of time, however, and her playing thereafter seemed to perk up a bit. By the end, at least some of the remarkable beauty of Golijov's elegy was on display. The Golijov, the last piece in the first half of the concert, was preceded by George Gershwin's "Cuban Overture" and Alberto Ginastera's "Estancia" ballet suite. Both works showed off the Santa Rosa Symphony's virtuosity, fully harnessed by their energetic conductor, Bruno Ferrandis.

Playing to a full house, the Symphony plunged into the "Cuban Overture" at top speed, led by an augmented percussion section. In addition to the usual snare drum, cymbals and wood blocks, the half-dozen percussionists pounded on bongos, shook maracas and scraped the guiro, a serrated instrument that's played with a stick. The lilting Cuban rhythm was infectious, taken up first by the brass and then the strings, who demonstrated that they could swing as much as the drummers. Strong solos from the clarinets and trumpets carried the work to a thrilling conclusion.

Equally thrilling was Ginastera's "Estancia," originally composed in 1941 for a ballet depicting ranch life in Ginastera's native Argentina. Cattle aren't known for their rhythmic flair, but the ranch hands who tend to them appear to favor a vigorous 6/8. That driving, energetic beat dominates the ballet, which features sections such as "Workers on the Land," "Wheat Dance," and "Cattle Men." The culmination is in the final movement, "Malambo," named for an ancient Spanish dance that arrived in Argentina around 1600 and is still spinning heads.

Still clad in her voluminous raiment, Beiser returned to open the second half with Max Bruch's "Kol Nidrei," an Adagio for cello and orchestra based on two powerful Jewish melodies. Eschewing the electronic pickup but making use of an iPad that she controlled with her right foot, Beiser offered a confident statement of the opening melody, bringing far more sound from her cello than previously. As she progressed, however, she slid into almost every high note, indulging in an excess of portamento.

"Kol Nidrei" is quite an affecting piece, and the second theme is particularly gorgeous, leading one neighboring patron to hum along. On balance, Beiser played it well, especially toward the end, when she did finally manage to hold the audience spellbound with an elegiac solo. If only she had gathered those forces earlier in the show.

The show itself ended with a sparkling performance of Gershwin's "Catfish Row," the orchestral suite drawn from his opera "Porgy and Bess." As with the "Cuban Overture," the suite is notable for its orchestration, including a solitary banjo player who sits forlornly between the cellos and the conductor and is granted only one solo: "I got plenty o'nuttin."

The banjo player in this case, who happened to be left-handed, took it all in stride, leading one to wonder how many opportunities exist for orchestral banjo players. Meanwhile all around him, strings of various persuasions leaned heavily into their instruments, playing with all their might to keep up with Ferrandis's brisk pace.

Ferrandis has a real ability to keep the orchestral sections distinctive while never lagging on the beat. The playing throughout was exemplary, from the jarring syncopations of the "Fugue" movement to the lyricism of the famous "Summertime" solo, here ably performed by concertmaster Joe Edelberg. As is often the case, the best was saved for last: "Good mornin', sistuh," with its dazzling orchestration and whirling melodies. The day was almost over at the end, but inside the hall, the sun was just beginning to rise.