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Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
CHORAL AND VOCAL REVIEW
MasterCard Performance Series / Saturday, January 25, 2014
The English Concert. Harry Bicket, conductor. Julian Wachner, Dorothea Röschman, Sara Connolly, David Daniels, Curt Streit and Neal Davies

English Concert Performing Handel

HANDEL'S ORATARIO THEODORA SPARKLES IN WEILL HALL CONCERT

by Joanna Bramel Young
Saturday, January 25, 2014

A Weill Hall audience January 25 was treated to a superb performance of Handel’s oratorio Theodora. For that we can thank the English Concert (not Consort), a highly polished baroque orchestra consisting of strings, oboes, bassoons, flute, horns, trumpets, harpsichord, organ and theorbo, along with five celebrated vocal soloists. Conductor Harry Bicket, artistic director of the Concert since 2007, expertly guided the orchestra in flawless support of both the soloists and the Choir of Trinity Wall Street, twenty-four singers directed by Julian Wachner. The choir is considered one of New York City’s finest vocal ensembles and the Episcopal parish that is its home was founded in 1697.

Consisting of three acts with two intermissions, Theodora is unquestionably long. Unfortunately it seems that a full program of baroque music performed by these sterling musicians lacked sufficient appeal to fill Weill Hall. When the first notes were heard, the hall was perhaps two-thirds full; and each intermission brought more empty seats. It can be said that those who left early missed some true gems. In contrast, I attended a concert the previous evening in Belvedere’s Saint Stephens Church by a similar group of equal quality - the American Bach Soloists (baroque orchestra, chorus, and soloists) - and nearly every seat was filled until the final note sounded. At Weill Hall, audience members who had remained until the end rose joyfully to their feet and showed gratitude for the evening’s pleasures.

Conducting from the harpsichord, Mr. Bicket exhibited both energy and restraint. The opening Overture began in the traditional stately, heavily dotted style favored in the eighteenth century, and then erupted into a rousing fast section. The orchestra played with great precision and clarity, and succeeded in altering mood from stately to exuberant in an instant. Fast tempos were brilliantly played, leaving me deeply impressed by the facility of all the musicians.

The recitatives, which introduced each aria (or air, as Handel called it), were supported by a continuo of harpsichord or organ, theorbo and bass strings. An impressive-looking instrument, the theorbo is a large lute with a six-foot fingerboard, which enables it to produce gloriously resonant low notes.

The opening recitative and air were sung by bass-baritone Neal Davies, as Valens, who established his credentials as the villain of the story with his emphatic statement “Whoso disdains to join the sacred rites shall feel our wrath in chastisement, or death ....” Like all the soloists, Mr. Davies sang flawlessly; and he chose to dramatize his lines, making the listener want to hiss his evil ways. Countertenor David Daniels, (Didymus), the lover of Princess Theodora, exhibited a voice beautiful and powerful, carefully nuanced in both high and low registers. His da capo aria “The raptur’d soul defies the sword, secure of virtue’s claim...” was exquisite in its execution. Hearing such high notes coming from a man with a full beard and a robust chest must have surprised many listeners.

The role of Septimius, a Roman official friendly to the Christians, was performed by Kurt Streit (a tenor different from the one named in the program) who nonetheless had a stellar résumé. All the soloists’ résumés read like a Who’s Who of opera: in demand throughout Europe, the United Kingdom, and the United States.

The choir was introduced early with the “Chorus of Heathens,” as they sang “And draw a blessing down...” accompanied by two brilliantly played baroque trumpets. After enjoying the stirring trumpets a few minutes into the oratorio, I was anticipating many more instrumental solos; but Handel tended not to feature solo instruments as extensively as Bach. For example, the oboes were only part of the “tutti” sections of the orchestral passages. A baroque flutist, not part of the orchestra, was featured in only two pieces half way through the work, and then was never heard again. In an orchestral interlude the flute played one soft held note; then the orchestra answered in a charming passage. Two horns were featured with the “Chorus of Heathens” with the words “while sweeter than the trumpets sound. ...” Like baroque trumpets, natural horns are extremely difficult to play, but these musicians made everything sound effortless. In the early to mid-twentieth century many of these baroque instruments were “resurrected”; but years passed before many of them were mastered; and now one no longer expects an occasional sour note from early brass. Nowadays young musicians begin their music studies on these instruments, and the most gifted among them develop the technique necessary to play them well.

Soprano Dorothea Röschmann sang the role of Theodora and Sarah Connolly, mezzo-soprano, portrayed her friend Irene. For Röschmann’s air “Fond, flatt’ring world, adieu!” the violins, playing in unison, echoed her words in sighing phrases. One of the most beautiful airs in the oratorio was sung by Ms. Connolly, “As with rosy steps the morn....” Playing pianissimo the strings allowed her voice to shine through. The balance between voice and orchestra was perfection.

Valens commands Septimius to tell Christian Theodora she must prostitute herself as punishment for not participating in a pagan ritual. His coloratura singing dramatized the words “Dread the fruits of Christian folly...” in a da capo aria. Theodora answers “Angels, ever bright and fair, take, oh take me to your care.” Her pleading “take me” is echoed by the strings to a moving effect.

Throughout the oratorio the soloists shone in their many recitatives and airs. Each had brilliant coloratura passages to negotiate, and all were executed effortlessly. Carefully rehearsed, the chorus achieved gratifying nuances. Near the end of the work Handel gave the chorus and orchestra the chance to perform a Bach-like great fugue in “Blest be the hand.” Theodora then sang unaccompanied, after which the chorus entered again, concluding the highly engaging fugue.

The work concluded with the choir, serving as the “Chorus of Christians,” singing a chorale reminiscent again of Bach: “O love divine, thou source of fame, of glory, and all joy!” The martyred hero and heroine have now risen to Heaven singing the lovely duet “Thither let our hearts aspire...and tune the lyre of the blissful holy choir.”

Theodora was scored to include tympani, but none were in evidence. They likely would have added vigor to the overall sound and was an unfortunate omission. Otherwise, the performance was profoundly satisfying, rich in pleasing airs that only Handel could create. He considered Theodora, written after Solomon and Susanna, his favorite oratorio; yet it was a failure when first performed in 1750. According to Wikipedia the librettist Morell quoted Handel as saying, “The Jews will not come to it because it is a Christian story; and the ladies will not come because it is a virtuous one.”