Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
CHORAL AND VOCAL REVIEW
American Bach Soloists / Saturday, December 14, 2013
American Bach Soloists Choir, Jeffrey Thomas, conductor. Shawnette Sulker, soprano; John Thiessen, trumpet

Jeffrey Thomas and the ABS Chorus Dec. 14 in Belvedere

A MARIN MUSICAL FEAST IN ABS SILVER ANNIVERSARY CONCERT

by Terry McNeill
Saturday, December 14, 2013

It was a “coming home for Christmas” event Dec. 14 when the American Bach Soloists (ABS) launched their 25th season with a glorious concert in Belvedere’s St. Stephens Church. The ABS was founded in 1989 in this venue, and chose the fortress-like church for presenting two Bach cantatas and a bevy of holiday music by seven composers.

Beginning with the fifth segment (“Ehre sei dir, Gott, gesungen”) of the massive six-part Christmas Oratorio, BWV 248, the ABS partnered this 11-section cantata in the first half with the popular cantata “Jauchzet Gott in allen Landen!” (BWV 51). Both received sterling performances in a church where the reverberation time is short. The broad acoustics were further diminished by a packed audience of 300 in heavy winter garb.

Conductor Jeffrey Thomas’s control of the complicated counterpoint was masterful throughout the evening, albeit with a minimum of overt gestures and only a sporadic and elegant use of his left arm to shape a desired sweeping melodic phrase. A small organ amid the instrumentalists, played by Corey Jamason, provided continuo and was often in ensemble with cellist William Skeen, oboist John Abberger and lead violinist Elizabeth Blumenstock. Mr. Skeen played with considerable volume and deft phrasing, especially in a lovely trio in the Choral (4th part) with countertenor Eric Jurenas and tenor Aaron Sheehan. In a following section Ms. Blumenstock’s extended opening solo blended with the added organ part, with chaste subsequent entrances by the cello, bassist Steven Lehning and three singers.

The 28-member chorus sang radiantly with only a rare ragged cutoff. It was an exemplary performance promising more delicious Bach to come.

In the second cantata, soprano Shawnette Sulker and Baroque trumpeter John Thiessen were the soloists in the short but virtuosic work from 1730, with a reduced orchestra. Ms. Sulker mastered the high tessitura and florid scales, though her lower register and diction tended to be indistinct, at least from my corner seat seven rows back. But why look for spots in the sun? The vocal pyrotechnics were thrilling, as were Mr. Thiessen’s shorter but equally demanding brass solos. The Baroque trumpet is not as piercing or loud as a modern valved trumpet, but in many ways the sound blended perfectly. Ms. Sulker’s stamina was tested in the third section aria where in a long passage, sung in one breath, her voice soared over the organ and the statuesque Mr. Thomas, the latter standing majestically with hands at his sides.

ABS concerts cater generously to loyal supporters, exemplified this evening by a lavish program booklet and an extended intermission reception with ample gratis holiday food and beverages.

The well-fed audience returned to the sanctuary for a veritable feast of music that was Christmas in theme but also joyously contemporary, save for the iconic "Silent Night." Franz Gruber’s 1818 carol was performed with a slow tempo and arresting major-minor harmonies, augmented by intriguing and matched solo singing from Ms. Sulker and Mr. Sheehan.

The entirely choral second part contained richly-hued singing of Rutter’s “Musica Dei Donum” and “Come Down, O Love divine”; three carol anthems from Herbert Howells; Britten’s “A Boy was Born”; David Willcocks’ arrangement of “Infant holy, infant lowly”; two Vaughan Williams works (“The blessed son of God” and “No sad thought his soul affright”); Whitacre’s “Alleluia” and the aforementioned Peter Conte arrangement of "Silent Night."

Highlights of the final works were Joshua Romatowski’s commanding and plaintive flute solo in the Rutter "Dei donum" (reminiscent of Vaughan Williams’ "Lark Ascending"); chorus soprano Tonia D’Amelio's solos in the second Rutter work; and the often powerful group singing of the concluding Whitacre work. In the last the false cadences and precision part singing had a mesmerizing effect on the audience, eliciting a roaring standing ovation and a surprising choral encore, a reprise of "Silent Night."

As a Christmas gift to Marin, the ABS could not have done better in this impeccable silver anniversary concert.