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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 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...
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.