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Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
Opera
SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
Symphony
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results don’t measure to expectations. With the Sonoma County Philharmonic’s Costa Rica concert June 19, the performance exceeded any heated or tenuou...
Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious building that is one of Sonoma County’s loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.  Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, October 12, 2014
Bruno Ferrandis, conductor. Yevgeny Sudbin, piano

Composer Bela Bartok

LATE-INNING HEROICS

by Steve Osborn
Sunday, October 12, 2014

Much like a home baseball team that scores the winning run in the bottom of the ninth, the Santa Rosa Symphony saved the best for last in its Sunday afternoon concert on Oct. 12. They led off with a tentative but ultimately captivating reading of Richard Strauss's "Till Eulenspiegel's Merry Pranks," followed with a solid but subdued performance of Beethoven's "Emperor" piano concerto, hit their stride with Wagner's "Tannhaüser" overture, and finally scored with Bartok's magnificent "Miraculous Mandarin."

That final work, written for a scandalous ballet, was easily the most riveting of the afternoon. Beginning with a propulsive opening in the second violins, the score is one long, tense buildup to a bloody and anguished climax. In the ballet, three criminals force a prostitute to lure customers in order to rob them. Their plans are thwarted by a mysterious mandarin who falls in love with the prostitute and repels their attacks.

Musically, this lurid plot induces restless energy and seething tension. The most prominent musical device is a sharply syncopated melodic line over a perpetually shifting drone. The violas played the first such line with powerful unison and great expression. They were followed by the cellos and then a series of bewitching solos from the clarinets and trombones.

The texture was wonderfully dense, with each section of the orchestra playing in a range of timbres. Conductor Bruno Ferrandis urged everyone forward at a feverish pitch, leading to a shattering ending and sustained applause. The only regret was that no dancers were on hand to enact Bartok's remarkable score.

The Bartok was a welcome and unexpected end to an afternoon of crowd favorites, beginning with Strauss's oft-performed tone poem. The playing here was precise but too deliberate to bring out the humor of the story, which revolves around Till's various pranks and his ultimate trip to the gallows. Ferrandis seemed a bit stiff in his gestures, a little too measured. A more relaxed approach might have induced more flexible playing and stronger dramatic contrasts.

By the march to the gallows, however, both Ferrandis and the orchestra had warmed up, and the playing was resplendent. The coda was magical.

Swift on the heels of Strauss came Beethoven's Emperor Piano Concerto (No. 5) with the Russian soloist Yevgeny Sudbin. He is a technically dazzling pianist in his thirties who is all business. His basic posture is to bend his head forward and hunch into the piano so that it occupies his entire field of vision. You would never know what he's playing based on his body language--he barely moves, except for his hands, which hang suspended in mid-air.

Sudbin uses lots of pedal but has an exceedingly delicate touch. His trills are rock-solid and expressive, a talent he used repeatedly throughout the concerto. Trills are so prominent in the Emperor that they become a method of sustaining notes, almost like bowing across a string or breathing into a horn.

The playing was faultless but ultimately somewhat timid. Sudbin didn't project as much as he could have, and his climactic moments were perfunctory, particularly at the end of the concerto where his final triumphant run up the keyboard seemed to peter out. Nonetheless, it was an accomplished performance, and it earned a standing ovation.

Ovations were also in order for the student musicians from the Symphony's top-tier youth orchestra who joined their elder colleagues after intermission to play Wagner's familiar overture to the opera “Tannhaüser.” The opening was magisterial and the mood triumphant, with Ferrandis conducting in sweeping gestures. This being Wagner, the horns were a central feature, but the strings also had their moments, particularly the violas, whose part was unusually prominent.

"Tannhaüser" is Wagner at his most commanding and assured. The players really leaned into their lines, and the resonant themes stood out in sharp relief. It was great theater, and it bodes well for the future that so many young musicians were able to join in.