Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.