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Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composerís era, which presents a few ch...
Opera
SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
Symphony
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results donít measure to expectations. With the Sonoma County Philharmonicís Costa Rica concert June 19, the performance exceeded any heated or tenuou...
Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosaís Jackson Theater the repertoire for tour concerts in San Josť, Costa Ricaís capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious†building†that is one of Sonoma Countyís loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.† Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, December 08, 2013
Bruno Ferrandis, conductor. Santa Rosa Symphony Honor Choir. Jenni Samuleson, soprano: Christine Brandes, mezzo-soprano; Brian Thorsett,tenor;
Philip Skinner, bass-baritone

Soprano Christine Brandes

OLD TESTAMENT AND NEW

by Steve Osborn
Sunday, December 08, 2013

Way back in 1995, when Jeffrey Kahane was just beginning to conduct the Santa Rosa Symphony, the local music critic incurred Kahane's wrath by writing an unfavorable review of a concert that included music by Leonard Bernstein. In essence, the critic opined that Bernstein was merely a show-biz composer, undeserving of serious recognition. Kahane retaliated by preceding subsequent concerts with a stern lecture to the audience extolling Bernstein's virtues and explaining why he should be taken seriously.

Be all that as it may, the Symphony--now conducted by Bruno Ferrandis--has programmed precious little Bernstein since then, so the inclusion of the composer's "Jeremiah" Symphony for its Dec. 8 concert at Weill Hall came as something of a surprise. This unfamiliar work, first performed in 1944, is one of Bernstein's earliest, but it contains many characteristic elements, instantly recognizable to anyone who's heard "West Side Story" or "On the Waterfront." Indeed, the first two movements of the symphony could easily serve as a film score--this time to a biblical epic.

All the Hollywood tropes are there: the brass fanfare, the emphatic drumbeat, the surging strings. In the first movement, you can almost see the prophet Jeremiah staggering across a back-lot desert. In the second, he stumbles into a profane dance party where bodies twirl to an insistent jagged rhythm and an oft-repeated six-note phrase. It's all well orchestrated, but the music has little import--until a mezzo-soprano walks onstage and opens the third movement with a heartfelt lament.

The singer in this case was Bay Area favorite Christine Brandes, who instantly injected some gravitas into the proceedings, courtesy of Bernstein's score. The third and final movement of the symphony was originally conceived as a stand-alone piece for soprano and orchestra, and it could easily resume that state. The difference between the first two movements and the third is night and day: Hollywood soundtrack vs. serious music.

Brandes was nothing if not serious. Wearing a black shawl and an elegant black-and-gold gown, she sang each note to its full value, with well-controlled vibrato. She was particularly riveting in her lower range, filling the hall with opulent sound. Her dramatics were also convincing, save for the few times she glanced at her score; she would have been better served by memorizing it. That quibble aside, it was a memorable performance, much appreciated by the nearly full house.

Less appreciated was the opening work, Leopold Mozart's frivolous "Toy Symphony," featuring five local non-musical celebrity soloists aided by Symphony trumpeter Doug Morton and soprano Dianna Richardson, a member of the Symphony's honor choir. The celebrities played toy instruments--including a bird whistle, a noisemaker and a wind machine--over a thin bed of sound from a much-reduced orchestra. While it was tolerably amusing to see the mayor of Santa Rosa wearing a Santa Claus hat and pounding on a toy drum, the comic effect wore off quickly. The highlight, such as it was, came from Richardson, who sang well.

Good singing was abundant in the second half, devoted to Haydn's "Mass in Time of War." Here Brandes was joined by soprano Jennie Samuelson, tenor Brian Thorsett, bass Philip Skinner, and the hundred or so voices of the Symphony's Honor Choir, directed by Robert Worth. The choir dominated the mass, both musically and spatially, looming above the orchestra in the Hall's distinctive Choral Circle. That position above the main stage allows the choir much better projection than when they're relegated to risers behind the orchestra.

The choir asserted its dominance in the opening Kyrie, clearly articulating the words and ringing out above the orchestra. Samuelson's opening solo was a bit fuzzy around the edges, but Brandes was crystal clear. The Kyrie is unusually sprightly, leading into a lilting Gloria. Here the choir kept pace with Ferrandis's brisk tempo, which didn't slow until the bass solo at "Filius Patris, qui tollis peccata mundi" (son of the Father, who takest away the sins of the world). Ably accompanied by cellist Robin Bonnell, Skinner unleashed a window-rattling sound, fully embodying the plaintive text.

The subsequent Credo continued, and even elevated, the energy of the Gloria. Ferrandis was a model of exactitude as he cued each choral entry in the opening fugue and exhorted the under-represented tenors to sing louder. The low organ note after "et sepultus est" (and was buried) was wonderfully dramatic, leading into a superb "Et resurrexit tertia die" (and the third day he rose again) from the chorus.

The tenor gets only a brief solo in the Sanctus, but Thorsett made the most of it, displaying a pure tone and remarkable power. He joined with the other soloists for the high point of Haydn's mass--the remarkable Benedictus quartet. Here the word "benedictus" is carried from one soloist to the next, who interact like members of a string quartet. All the voices were good, but Thorsett really stood out.

The concluding Agnus Dei, with its famous drum roll, was almost a match for the Benedictus. The chorus sang beautifully, and the final "dona nobis pacem" (grant us peace) was uplifting, a wonderful ending to an inspired performance.

Reprinted by permission of San Francisco Classical Voice.