Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
CHORAL AND VOCAL REVIEW
A Capella Fever / Wednesday, July 16, 2014
Vocal groups Acafellas, In the Mix, River and SATB Sine Nomine

Choral Singers

A CAPAPELLA FEVER AHH

by Terry McNeill
Wednesday, July 16, 2014

Choral singing, especially unaccompanied by piano or orchestra, seldom gets exposure at a summer music festival. So it was a surprise July 16 to find the Mendocino Music Festival featuring a full program of a capella singing in downtown Mendocino’s Preston Hall.

Perhaps due to the local performers comprising the four groups, the hall was standing room only and the audience wildly appreciative of the singers. Ft. Bragg’s “Sine Nomine” (no name) led off with six songs, the most novel being the “23rd Psalm” that substituted “she” for the universal “he.” The nine singers created humorous repeating rhythms in the rocking “Way Over in Buelah-lan” and ended with a unison falsetto in “The Lord Bless You and Keep You.”

The three-women River group sang seven works, mostly upbeat and the parts were clear and the diction crisp. In “May I suggest” the ending notes slid upward a perfect octave, and the final work (The Lord Bless You and Keep You) concluded with the word “peace” sung quietly in three separate harmonies. Lovely.

After a long intermission the five-men Acafellas produced the most boisterous program of the afternoon. The jazzy Johnny Otis standard “So Fine” (might they have added “Doin the Hand Jive”?) was followed by a captivating “I Can’t Sit Down,” the title followed by the words ”I just got to heaven and I want to walk around.” It received the loudest applause of a loud applause day.

The subtlest singing came with a fetching version of Ellington’s “Mood Indigo.” The group was less effective in a medley of Beatle’s songs and in “Love Potion No. 9.” The performance of the latter song lacked the unique vocal flavor of the Clover’s 1959 hit version.

In The Mix ended the program with six songs. The five-women group sang well, especially the non-programmed “Lay Me Down, I’ll Be Home Some Day,” but lacked variety of tonal color. This monochromatic palate was evident in much of the four groups singing, compromised mostly of all-male or all-female participation.

This changed sharply in an all-group encore ("Show Me The Way") that had warm voice differentiation. It was a formidable closure to a unique Festival event.