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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 / 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.