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Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
SYMPHONY REVIEW
Green Music Center / Thursday, October 16, 2014
San Francisco Symphony. Stéphane Deneve, conductor. Isabelle Faust, violin

Conductor Stéphane Deneve

BEYOND THE GOLDEN GATE

by Terry McNeill
Thursday, October 16, 2014

Three works composed within three years of each other were programmed in the San Francisco Symphony’s concert in Weill Hall on Oct. 16, but each was sharply different.

Before a nearly full house, conductor Stéphane Denève opened with Barber’s iconic Adagio for Strings, Op. 11, in a compelling but not overly intense 10-minute performance. Cutoffs were precise, as were the violin section attacks. Mr. Denève fashioned a short concluding fermata but momentarily stopped any audience response with his left hand held high and motionless.

Strangely this mesmerizing music was quickly forgotten as violinist Isabelle Faust tackled Britten’s rarely played Violin Concerto, Op. 16, a virtuosic interplay of orchestra and soloist. Playing from score, Ms. Faust negotiated the continual high-register thematic lines and violent right-hand string plucks and slaps with aplomb. Meanwhile, Mr. Denève had consummate control over the orchestra, never covering the soloist.

At times in the Vivace movement, the music became violin against orchestra, and bits of Shostakovich’s Fourth Symphony sounded in Britten’s power climaxes. There was a long violin slide to a magnificent cadenza, along with stellar playing by the trombones, tuba and French horns. Ms. Faust deftly handled the special technique of simultaneous bowing and pizzicato.

The Passacaglia finale had a menacing character, anchored by the powerful violin sound and solos by harp and clarinet. At the end, the Symphony’s refined quiet playing underscored a lovely slow trill from Ms. Faust. Mr. Denève again stopped the expected ovation with a raised arm for many seconds after the music ceased.

For Rachmaninoff’s Symphonic Dances, the orchestra was augmented by saxophone and piano. The playing was virtuosic for a not-long-at-all 39 minutes. Instrumental duos were spread throughout the orchestra: harp and piano, saxophone and oboe, English horn and flute, string tremolos with bassoon, and even the juxtaposition of trombones and trumpets. The string section handoffs (violas to violins) were seamless, and fast accelerandos and strident passages were played faultlessly.

There is nothing Russian about these dances from a composer who was intensely Russian. Mr. Denève’s authoritative baton was always whirling and thrusting, asking often for a vast volume of sound. Weill Hall and ultimately the audience responded in kind.

Following a raucous ovation, Mr. Denève breathlessly addressed the audience to praise Weill’s acoustics and rhetorically ask for a return concert with this marvelous orchestra.

Violinist Ruggiero Spalding contributed to this review