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Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
OPERA REVIEW
Mendocino Music Festival / Friday, July 18, 2014
Festival Orchestra, Allan Pollack, Conductor. Singers TBA

Baritone Eugene Brancoveanu

A PROVOCATIVE DON GIOVANNI AT MENDOCINO FESTIVAL

by Terry McNeill
Friday, July 18, 2014

At each Mendocino Music Festival a key evening is given over to a staged opera in the big tent, and last year Rossini’s frothy “Il Signor Bruschino” was an audience hit but hardly comprehensive operatic fare.

Times change. Mozart’s weighty opera Don Giovanni was given a propulsive but often confusing single performance July 18 before a sold out audience in the Festival tent.

Confusion began early with masked black-robed faces roaming the semi-bare stage and Dennis Rupp, performing the wonderful Leporello role, arriving in a costume akin to the Ballet Russe impresario Serge Diaghilev: swallow white shirt, red-colored glasses, tails and huge top hat. The Don, played by Eugene Brancoveanu, appeared to be a Jack Nicholson knockoff with sunglasses, open shirt and swagger. But there was not an aristocratic swagger in sight, just jumping about the stage and sporadically running up and down the aisle. It went on from there with the first scene death of the Commandatore caused not by the rapier thrust (as it said in the ill-timed and often wrong supertitles) but by the Don ripping away the oxygen cylinder and mask from the old man that arrived through the curtain in a wheel chair.

Many in the audience presumably loved the director ‘s vision of the cutesy and titillatingly long performance, but perhaps now it’s best to turn to the meat of any operatic experience, the orchestra and the singing.

The singing, though forceful and playing to the director’s concepts, was never convincingly compelling. Tenor Sergio Gonzales, underpowered in the large space, was the most lyrical as Don Ottavio, and Masetto (unidentified in the program, and a baritone as is the Don) had vocal heft. Kelly Britt as Donna Anna, the Commandatore’s daughter, presented a character of palpable sympathy for the lecherous Don, mixed with vengeful hatred.

Success in this great opera stands or falls on the greatness of the Don’s singing and his exciting repartee with his long-suffering servant Leparello. Mr. Brancoveanu’s singing had excellent Italian diction, admirable athleticism and just a bit of the sinister. His voice was smooth in all registers but continually monochromatic and never gave this listener any notion of sly charm beneath the surface of his sexual license. The same role sung recently in the local Cinnabar Theater and Met HD Cast productions was compelling and made the Don almost likeable. Almost.

As in previous tent concerts the amplification was helpful for vocal volume and clarity of language, but it hampered sonic differentiation and made the voices of sopranos Zerlina (Adina Dorband) and a first act Donna Elvira (Youn Ryu) take on a brittle and shouting character.

Behind the minimal set Festival co-director Allan Pollack conducted with authority and generated a lively and balanced sound, though too often the playing lacked polish and tight ensemble. But it is a dramatic opera inside a busy festival and there was just a sole performance.

The evening’s program did not mention the names of the costume, lighting, choreography and set designers, and most crucially the name of the opera’s director. The woman playing continuo for recitatives was also unidentified.