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Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
CHAMBER REVIEW
Napa Valley Music Associates / Sunday, January 11, 2015
Jassen Todorov, violin; Anna Combs Johnson, soprano; Kenn Gartner and Adrian Borcea, piano

Violinist Jassen Todorov

MOZART IN THE MIX

by Terry McNeill
Sunday, January 11, 2015

Napa Valley Music Associates 20th annual Mozart concert Jan. 11 was a mostly Mozart event at the Jamieson Ranch Vineyards, but five mostly romantic composers happily joined the musical mix.

Jassen Todorov was the featured violinist in two Sonatas, the F Major (K. 377) and the B Flat (K. 378), partnered with pianist Adrian Borcea. The acoustics of the winery party room were dead and the duo adopted a muscular approach to the overflowing energy of the K. 377 Allegro, the piano at times covering the violin’s sound. The best playing came in the D Minor Variations movement (Andante) where the violinist’s intonation settled down and the music moved from gloomy resignation to lyricism, with a lovely lightweight ending.

The finale was inspired and seemed to quietly vanish into the distance at the end. Throughout the concert the sub professional piano limited artistic playing from Mr. Borcea and subsequently Kenn Gartner, but on balance the Mozart was an adroit if not a telling performance.

Not hindered by the accompanying instrument was soprano Anna Combs Johnson, singing four works by Verdi and Rachmaninoff. From the opera Othello she sang a deliberate and shapely “Ave Maria,” followed by the sad “Salce, salce” (Desdemona’s “Willow’s Song”) with Mr. Gartner support and beguiling postlude. Her voice is even and strong throughout all registers, carrying well with judicious and intense high notes in Rachmaninoff’s “It Is Nice Here.” The popular “Vocalise” (from a group of Op. 34 songs) is performed without words and with one vowel of the singer’s choosing. Here the piano and vocal lines intertwined to fine effect, the music producing a serene blessing on the 75 listeners.

Closing the first half were four disparate piano nocturnes, each well known but each less than refined due to Mr. Gartner’s struggle with the piano. In Chopin’s E Flat Nocturne of Op. 9 he never found a stable tempo and Liszt’s Liebesträume suffered from memory lapses and lack of harmonic sustain. The concluding Scriabin Nocturne for the Left Hand (Op.9) and Respighi’s mellow Notturno were better, the latter a signature piece for the pianist and played with a soothing right-hand staccato and deft phrasing.

In Mozart’s B Flat sonata Mr. Todorov found a lighter bow and relaxed virtuosity that was not always in evidence earlier. He focused on the beguiling three-part melody of the Andantino, reminiscent of the church song “Fairest Lord Jesus, Ruler of All Nature,” and played with a wider vibrato and control of pianissimo. Mr. Borcea had plenty to do with the many right-hand scale passages in the Allegro, attempting to get an even legato from the instrument that seldom provided it.

Two lovely Mozart works closed the concert, “Porgi Amor” from the opera “The Marriage of Figaro,” and a reduction for piano and soprano of the wonderful “Alleluja” from Exultate Jubilate, K. 165. In the prayerful “Figaro” aria Ms. Combs was never strident and allowed the long phrases to unfold naturally. She has a penchant for this vocal drama where (in the opera) Countess Rosina laments fate and love. Quite the opposite was the lofty tessitura of Mozart’s florid three-minute Alleluja, sung with charm and joy.

A standing ovation ensued, a harbinger of the anticipated NV Music Associates “Spring Into Strings”
Concert March 22 in the same hall.