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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.