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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
CHAMBER REVIEW
MasterCard Performance Series / Sunday, February 09, 2014
Venice Baroque Orchestra. Philippe Jaroussky, counter-tenor.

Countertenor Phillipe Jaroussky

COPIOUS VOCAL VIRTUOSITY IN VENICE BAROQUE ORCHESTRA'S WEILL HALL CONCERT

by Joanna Bramel Young and Howard Young
Sunday, February 09, 2014

On a rainy Feb. 9 afternoon an expectant umbrella-carrying audience crowded into Weill Hall to hear arguably the world’s greatest living countertenor, Philippe Jaroussky, with the renowned Venice Baroque Orchestra. Eighteenth-century countertenors, called castrati, were young male singers whose manhood had been sacrificed to preserve their soprano range, and which enabled them to sing female roles in operas. Only men were allowed to perform on stage. The castrato known professionally as Farinelli was the most widely celebrated of all Italian singers of his era, the equivalent of today’s rock star. Nowadays countertenors and mezzo sopranos fill that role in historically informed productions of baroque operas and oratorios.

The concert opened with an Overture by Porpora, a Neapolitan composer whose opera company competed in England with that of Handel, both vying for the services of the best singers, to the benefit of discerning audiences. As Farinelli’s demanding vocal instructor, Porpora naturally had the use of his gifts. And Porpora was served well by the Venice Baroque Orchestra on Sunday as it navigated his Overture brilliantly, with quick, crisp tempi, lyrical slow movements and charming solos by the oboes and horns. In the following work, the aria Mira in cielo (Look up to Heaven), also by Porpora, Mr. Jaroussky wasted no time in exhibiting his stunning virtuosity seasoned with expressiveness. With consummate ease his voice flowed from very high notes to rich lows, his intonation always sure. His seeming effortlessness belied his careful shaping of each note in the long melismas sung in brilliant passages. The orchestra worked as a single accompanying instrument, always where needed and never overpowering. Bows were quickly lifted from the strings at the ends of notes, creating a solid yet delicate staccato effect. Every inflection of the voice was delicately mirrored by the orchestra: A sung forte was supported vigorously by the instruments, and then a pianissimo for the entire ensemble would taper off into silence.

The virtuoso singer never rendered his ornaments the same way twice, and the da capo of an aria was enhanced by more brilliant embellishments but never overdone. When each aria concluded, the unusually demonstrative audience responded with shouts and whistles, amazed at what they had just heard. Two separate couples I spoke with said they had heard the same program two days earlier in Berkeley and had come to savor it one more time.

In the Porpora aria Si pietoso il tuo labbro ragiona (Since you speak so sympathetically) Mr. Jaroussky sang the words contenti sognando (happily dreaming) in a phrase rich in artful tender trills and carried in a single extended breath. A breathtaking unaccompanied cadenza ended the aria. For Handel’s Mi lusinga il dolce affetto (Sweet passion tempts me) oboes and bassoon were added. While Mr. Jaroussky sang, the orchestra became one instrument whose only purpose was to support him, reflecting each passionate emotion of the aria. In a long cadenza near the end, the singer took all the time he wanted, the orchestra waiting and then entering with a repeat of the same melody, ending in a lovely pianissimo.

Just before Intermission a Handel love song was followed by a tempestuous aria about a fierce tiger that was being hunted: Sta nell’Ircana (In her stony Caspian lair the fierce tiger stands). After brilliant ornaments sung on the repeat, the aria ended with the hunter--represented by unaccompanied horns--echoing the countertenor’s words.

In Handel’s aria Scherza infida (Mock me, faithless one) the dissonances were achingly lovely, resolving only at the last moment. The solo bassoon played long suspensions and Mr. Jaroussky’s voice almost wept as he sang, in slowly descending notes, “I lie in the arms of death.” The final poignant love song, Porpora’s Nell’ attendere (While I await), ended with the words La speranza porterà (Hope promises). In the middle of the closing long cadenza, a single horn suddenly sounded, echoing the phrase just sung. As if startled, the singer abruptly glanced over his shoulder, and he and horn playfully concluded the aria.

The element of surprise made this performance exciting. Nothing was played or sung the same way twice. There was surprise in the brilliant ornaments, the messa di voce consisting of a gradual crescendo and decrescendo over a sustained note (an essential characteristic of vocal works of this period). The pure intonation and notable grace with which Mr. Jaroussky brought out the conflicting emotions of each aria was terrific.

A brilliantly performed encore echoed the standard that the musicians had set for the afternoon, and the audience--on its feet and applauding at length--showed Philippe Jaroussky and the Venice Baroque Orchestra how much they had enjoyed themselves. A return engagement is a must.