Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
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...
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.