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Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
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.