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Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
CHORAL AND VOCAL REVIEW

Baritone Florian Boesch

A WINTER'S JOURNEY IN SPRING

by Steve Osborn
Sunday, May 11, 2014

On a May afternoon of abundant sunshine and warmth, a few hundred people gathered in Weill Hall to hear a song cycle about the bleakest of midwinters. The composer was Schubert, the singer was the Austrian baritone Florian Boesch, and the cycle was "Winterreise" (Winter's Journey), easily the saddest and most profound example of the form.

Boesch and pianist Malcom Martineau were clad entirely in black, the better to reinforce the somber mood. After reminding the audience not to applaud until after the 24th and final song, Boesch leaned up against the piano, and then unleashed his spine-tingling, wonderfully resonant voice, as soft around the edges as a kitten. Hands clasped in front, he sang the opening lines in full character: "Fremd bin ich eingezogen, Fremd zieh' ich wieder aus" (As a stranger I arrived, as a stranger again I leave).

Among his many stellar attributes, Boesch is a consummate actor. By the end of the first song, "Gute Nacht" (Good Night), he had fully established his character, a heartbroken man rejected by the woman who professed to love him back in May. Now he leaves her town and sets out alone on a winter's journey of unknown destination.

The next song, "Die Wetterfahne" (The Weather Vane) offered a strong contrast to the first. Boesch unfolded his hands and held them far apart, with fists clenched. Unlike the restraint and sad acceptance of "Gute Nacht," he now displayed flashes of anger, with a voice to back them up. That intensity continued in the famous "Gefrorene Tränen" (Frozen Tears) that followed, reaching a climax (lowmax?) in the deep bass notes of the second verse.

By the fourth song, it was clear that Boesch would enact each one differently, while confined to a few square feet in front of the piano. Hand gestures and facial expressions were his visual allies, but the real difference came in his and Martineau's musical approach to each text. His voice was by turns mellifluous, agitated, whispered, and strident. Martineau likewise displayed a full range of emotion without ever overstepping his boundaries. He always allowed Boesch to shine through.

Being Austrian, Boesch has an inherent advantage in pronouncing the text of "Winterreise." Every word was distinct and fully articulated. Final consonants came to a full stop, and vowels blended beautifully. His breath control was superb, and his upper range was as bewitching in its softness as his bass in its thundering.

As the songs rolled along, each one stood out in its own way. In the fourth, it was the despairing enactment of "Wo find ich eine Blüte?" (Where will I find a blossom?). In the fifth, it was the shift in tone to match the "dead of night." In the sixth, it was the anguished outburst at the end.

Throughout the performance, Boesch really tested the limits of his voice and character. His repeated pianissimos were perhaps the most beguiling aspect of his musical arsenal. Perched just on the edge of inaudibility, they brought a hushed stillness to the house, a quietude that was only interrupted by overanxious page turners following along in their programs. In the acting domain, Boesch emphasized his character's anger as much as his resigned acceptance of his fate.

Boesch's emphasis on contrast and duality makes him an ideal interpreter of Schubert, a composer noted for his constant fluctuation between major and minor. This fluctuation is present throughout the cycle, nowhere more so than in "Frühlingstraum" (A Dream of Spring), where the merry bird songs of the opening verse are replaced by the crowing of roosters and the shrieks of ravens.

The real pivot in the cycle comes in the 20th song, "Der Wegweiser" (The Signpost), where the traveler resolves to take a road "from which no one has ever returned." After making that vow, Boesch stood perfectly still, allowing the metronomic clock ticking in the piano to come to the fore. It was a chilling moment.

From there to the end, the intensity increased relentlessly, from a visit to the graveyard, to the traveler's delirious vision of three suns in the sky, and finally to a frozen lake, where a forlorn hurdy-gurdy man plays incessantly as he staggers back and forth, barefoot on the ice. Boesch brought yet another voice to this song, almost speaking the short, clipped phrases and then sustaining the final notes in a haunting tone of utmost delicacy.

The ovation was immediate and sustained. This was a great performance of a musical masterpiece, as full of drama as a grand opera, but enacted in a fraction of the space and with just two consummate musicians.