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Recital
HOME RECITAL BACH COMPLETES HOLIDAY SEASON
by Terry McNeill
Saturday, December 30, 2017
The just closing 2017 year was a calamity for many, but locally in music there were joys galore, and it was fitting Dec. 30 have the balm of two Bach’s violin sonatas in a private Guerneville home recital hosted by the eminent musician Sonia Tubridy. Violinist Richard Heinberg joined Ms. Tubridy in...
Choral and Vocal
A SEASONAL MESSIAH WITH BALANCE AND HEFT
by Terry McNeill
Sunday, December 10, 2017
The mid-December concert season seems for jaded reviewers to invariably include a Messiah performance, and perhaps a Messiah in a long string of similar and mundane performances. This was decidedly not the case when San Francisco’s Philharmonia Baroque mounted Handel’s eminent three-part 1742 Orato...
Symphony
ANDREW GRAMS FINDS HIS GROOVE WITH SR SYMPHONY IN RACHMANINOFF
by Steve Osborn
Sunday, December 03, 2017
Last Sunday’s Santa Rosa Symphony concert featured two elegant and refined guests: music director candidate Andrew Grams and pianist Stewart Goodyear. Both displayed dazzling technique and consummate artistry, but Goodyear was the more consistent of the two. Some of Grams’ inconsistency may have st...
Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
SYMPHONY REVIEW
Festival del Sole / Monday, July 14, 2014
Sphinx Symphony Orchestra, Alondra de la Parra, conductor. Pinchas Zuckerman, violin; James Valenti, tenor

Conductor Alondra de la Parra

DRAMATIC SUMMER MUSICAL FARE IN WEILL

by Terry McNeill
Monday, July 14, 2014

Napa’s Festival Del Sole’s summer resident orchestra, Sphinx, made a dramatic Weill Hall appearance July 15 with three star performers and a curious mix of pungent repertoire.

Violinist Pinchas Zuckerman received the biggest adulation from the audience, closing the first half playing Bruch’s G Minor Concerto, Op. 26, with his customary control and consistency. An old friend to the Concerto, Mr. Zuckerman played with fastidious if conventional phrasing through the three movements, and the ruminating Adagio elicited his most convincing virtuosity.

With conductor Alondra de la Parra keeping the orchestra mostly with the soloist, the gypsy rhythms of the finale allowed Mr. Zuckerman to dig into the strings and his quick appoggiaturas added spice. At times the violin line, a long romantic line in this poetic work, got lost in the orchestra fabric. There was a standing ovation from the 800 in the hall.

In a series of mostly Italian opera arias tenor James Valenti sang with firm control and balanced registers. He has an attractive stage presence and his voice, though this evening tending to the monochromatic, was especially rich in the baritone range. The Orchestra never covered Mr. Valenti even in Tosti’s dramatic “Ideale,” long a Pavarotti specialty, and Salvatore Cardillo’s lovely "Core ‘ngrato." There was a break from Italian with Lehar’s “Dein ist mein gazes herz”, and here Mr. Valenti emphasized the suave slow waltz rhythms that reminded me that Sigmund Romberg knew Lehar’s compositions.

There were three orchestra works interspaced in the program, beginning with a short and furious Overture from Bizet’s Carmen, and in the first half the famous Intermezzo from Mascagni’s Cavalleria Rusticana. The Intermezzo’s tempo was judicious and Ms. de la Parra had a deft baton, changing the repeated phrases just slightly.

After intermission came Dvorak’s Eighth Symphony, the G major one from 1889. The Sphinx made the most of the work’s two boisterous movements, and the gracious Allegretto based on a charming waltz theme was performed with élan. Throughout the Symphony the conductor coaxed colorful and piquant effects from the orchestra, but with sporadic instrumental blemishes in horns and winds. Ms. de la Parra conducted without score but with a secure Dvorak flair.

This Orchestra, founded 16 years ago to spotlight Afro-American and Latino musicians, had the high string power that non-professional ensembles seldom have, but also lacked the string polish and articulation of top-drawer symphonies.