Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, November 15, 2014
Manuel Matarrita

Conductor Norman Gamboa

A PIANIST AND ORCHESTRA IN NEED OF A PIANO

by Terry McNeill
Saturday, November 15, 2014

Sonoma County Philharmonic conductor Norman Gamboa mounted a crackerjack program Nov. 15 to end the Philharmonic's 2014 calendar year. It was a balanced menu of dramatic orchestral playing, beguiling choral works and an intriguing piano soloist in Santa Rosa's High School Auditorium.

The evening's chief works were preceded by the charming Dvorak Serenade for Wind Instruments, Op. 44. For some the Dvorak might have appeared to be an opening "filler," but actually it was a feast for winds--two each oboes, clarinets and bassoons; three French horns; and an ungainly-looking contrabassoon. A cello and bass provided the needed continuo.

The music has a baroque character and was played terrifically by all, with particularly rich performances by oboists Chris Krive and Anthony Perry, clarinetists Nick Xenelis and Mary Kruzas, and Miranda Kincaid and Steven Peterson on bassoon. The delicate and blended horn ending of the Andante was lovely.

Mr. Gamboa conducted with easy command and moderate tempos, as he did throughout the Mozart A Major Concerto, K. 488, that ended the first half. The popular Concerto is always effective and joyous, but was just off the mark in several ways. In a reduced orchestra of 34 musicians, the violins had pitch and projection issues, and the piano used by Costa Rican virtuoso Manuel Matarrita was not up to a professional level. The piano's faults limited the soloist's thematic and legato projection and also affected the orchestral and piano balances.

Mr. Matarrita played the usual first-movement cadenza, but with some delicious personal additions and accents, and his trills in all movements were even and varied. Flutist Emily Reynolds played beautifully in a work that puts winds on a delightful par with the upper strings.

Mr. Matarrita was to reappear later in Beethoven's Op. 80 Choral Fantasia, but since a chorus is needed for the piece, it seemed right for Mr. Gamboa to first spotlight two choral works sans orchestra. Thirty-three singers from the California Redwood Chorale filled risers at stage rear. Under the direction of Robert Hazelrigg, they performed Rutter's Psalm 23 from his 1985 Requiem. This short work underscoring "The Lord is My Shepherd," heard often at Anglican funerals, was well sung and featured a penetrating oboe solo from Ms. Krive. John Hazelrigg was the assisting pianist.

An a cappella work, Gawthorp's "Sing Me to Heaven," was next, and the performance caught much of the expressive mystery of the rejoicing ode.

The 22-minute Fantasy begins with an extended piano introduction, and here Mr. Matarrita lavished many intriguing expressive notions on an unresponsive instrument, all the while able to meld with the sections of the orchestra and chorus that successively joined the mix. Mr. Gamboa again adopted relaxed tempos and allowed a progression of chorus and orchestral voices (flute, clarinet and bassoon) ample room to shine. The vocal sextet's singing was well defined but undistinguished. At the inspiring and forceful ending chords, the audience of 500 rose almost as one in loud acclaim.

Sonoma County's "people's orchestra" produces programs with many small but important personal touches: the conductor meeting listeners in the lobby at intermission, ample volunteer house staff and stage announcements from individual Philharmonic musicians, the now famous wine raffle, and copious home-made cookies. It has become a large musical family.