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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
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...
SYMPHONY REVIEW
Santa Rosa Symphony / Monday, November 10, 2014
Bruno Ferrandis, conductor. Christian Poltéra, cello

Cellist Christian Poltéra

A CELLO CONCERTO FROM A DISTANT WORLD

by Terry McNeill
Monday, November 10, 2014

Several surprises characterized the Santa Rosa Symphony’s Nov. 10 Weill Hall concert, the first being an almost full house on a Monday night after the same program was heard the two previous days.

The important surprise was how well the audience liked the thorny Dutilleux cello concerto, Tout un Monde Lointain (A Whole Distant World), written for Rostropovich in 1970 and played to the hilt by Swiss cellist Christian Poltéra. It was a courageous program selection by conductor Bruno Ferrandis, especially when surrounded by familiar Debussy and Beethoven.

Taking just under 30 minutes in five movements, the concerto asks the soloist for pristine high-register bowing, eerie descending slides down the fingerboard, and a wide vibrato in difficult fingering positions and phrases. Mr. Poltéra mastered the difficulties with seeming ease, playing from score and in sync with Mr. Ferrandis’ exact orchestral control.

Highlights for me were the duets between concertmaster Jay Zhong and Mr. Poltéra in the fetching lament of the Regard (Gaze) second movement; the novel sound of celesta winding in an out of the percussion lines (marimba, xylophone, bongo drums and triangle); and the interplay between single harp notes and the Symphony’s resonant cello and bass sections. Throughout this wonderful work are wisps from Shostakovich’s Second Cello Concerto, a piece contemporary to the Dutilleux. But the often hazy and shimmering French composer’s sonority is unique, as was Mr. Poltéra’s softly fading tremolo ending.

Messrs. Poltéra and Ferrandis were recalled three times by an enthusiastic ovation.

Beethoven’s Seventh Symphony in A Major closed the evening, a four-movement work with the orchestra sharply reduced in size from the two previous compositions. An extended introduction established vehement rhythmic patterns from timpanist Andrew Lewis, and the playing everywhere was surefooted, especially in duos between piccolo player Stacey Pelinka and flutist Kathleen Lane Reynolds.

Beethoven's ebullient Scherzo and a demanding Presto third movement were performed with precision and flair. Bassoonists Carla Wilson and Shawn Jones were heard clearly from my balcony seat, as were two blaring but congruent trumpeters. Mr. Ferrandis kept the Symphony’s momentum going into the wild and swirling finale, deftly balancing the rhythmic definition and taking a tempo that seemed overly fast but oh so right.

The applause was loud, and select members of the Symphony were recognized by the conductor.

Opening the concert was a delicate and carefully paced performance of Debussy’s Prelude a L’aprés-midi d’un faune (Prelude to the Afternoon of a Faun). Though radical in its time, the now familiar work from 1894 is as captivating as any 11-minute work in the literature. After the famous opening flute solo, played alluringly by Ms. Reynolds, the performance contained virtuosic playing from hornist Meredith Brown, harpist Randall Pratt, clarinetist Roy Zajac, oboist Laura Reynolds and bassoonist Carla Wilson.

Mr. Ferrandis conducted from score and drew rich and gauzy colors from the strings, especially from the viola section.