Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
SYMPHONY REVIEW
Marin Symphony / Tuesday, September 30, 2014
Alasdair Neale, conductor. Zuill Bailey, cello

Conductor Alasdair Neale

PROPULSIVE BERLIOZ AND CONSUMMATE CONDUCTOR STAR AT MARIN SYMPHONY

by Terry McNeill
Tuesday, September 30, 2014

It’s not an easy task to upstage the virtuoso cellist Zuill Bailey, but Marin Symphony conductor Alasdair Neale did it convincingly in a Sept. 30 concert at the Marin Center Auditorium.

Mr. Bailey didn’t easily relinquish the starring role and played an eloquent and urbane performance in St. Saëns’ First Concerto, Op. 33, from 1872. For Mr. Bailey, a North Coast favorite, it was a surprisingly low temperature performance that had fast tempos and at times a legato that blurred scale passages. In the Allegretto the cellist displayed a deft pianissimo, spicatto bowing and even trills. In the finale both Mr. Neale and Mr. Bailey adopted a restrained approach to this mellifluous music that showcased a long thematic line that was everywhere reminiscent of the composer’s Introduction and Rondo for Violin and Orchestra, written nine years before the Concerto.

Timing in the short first half generated a crowd-pleasing encore, and not for this soloist was the usual movement from a Bach unaccompanied Suite. It was the captivating five-minute Intermezzo entr’acte from Massenet’s opera Thaďs. Here Mr. Bailey broadened his vibrato and played the lovely melody seamlessly merging with the Marin musicians and especially harpist Don Leviton. At the end the motionless Mr. Neale held the audience in a fermata, letting the magical silence play out for 15 seconds.

Following intermission the Symphony unleashed a demonic performance of Berlioz’ Symphonie Fantastique, guided by the conductor’s conception of a sonic extravaganza. This hall has a direct sound with little reverberation, seemingly favoring in this work the lower frequencies of six basses and eight cellos. All through the five-movement symphony that lasted just short of an hour the conductor relished moderate tempos, never rushing in voice leadings to the big climaxes. And there were many big climaxes.

In the lovely waltzes of the second movement Mr. Neale eschewed big ritards and elastic rhythms, emphasizing instead strict rhythms, section balances and tonal richness. Clarinetist Arthur Austin and flutist Monica Daniel-Barker played fetching duos.

For me the instrumental highlight of the evening was the delicate and haunting English horn solos that began the “Scene in the Fields” movement. Laura Reynolds was the performer in music that Wagner clearly knew when he composed the equally haunting Prelude to Act III of “Tristan und Isolde.” The wind choir and violas played wonderfully. Mr. Neale’s control and concentration was complete and only sporadically did he look at the score. The string pizzicato playing in the March to the Scaffold movement was telling, as was the sonority of chimes, tuba (two of them, and two harps!) trombones and bassoon in the Dies Irae theme of the Witches Sabbath conclusion. Mr. Neale gave each repeat a slightly different character that lent novel interest to this propulsive and raucous movement. A standing ovation followed the final tumultuous chords, and it was surely a tribute to both orchestra’s playing and the conductor’s bold conception and consummate control of Berlioz’ sprawling composition.

The concert opened with Bernstein’s Overture to the operetta “Candide,” fast and with trumpets blaring. With the stage packed with performers, many more than were needed in the St. Saëns Concerto, the performance of this popular concert opener was swift, muddy in texture and actually too loud.