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Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festivalís 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosaís Spring Lake Village Chamber Music Series. Before 140 in the Villageís auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosaís Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
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.