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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 ďAn Italian in Paris.Ē 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 Festivalís 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 Rosaís Spring Lake Village Chamber Music Series. Before 140 in the Villageís 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 Rosaís 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
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís Sonoma Overt...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, May 03, 2015
Bruno Ferrandis, conductor. Abigail Fischer, mezzo-soprano. Women's Chorus of the SRS Honor Choir, Robert Worth, director, Santa Rosa Children's Chorus, Carol Menke, director

Mezzo soprano Abigail Fischer

SANTA ROSA SYMPHONY MASTERS MAHLER'S THIRD

by Steve Osborn
Sunday, May 03, 2015

Among Romantic symphonists, Mahler is the king of climaxes; he surges from one to the next orgiastically. His third symphony is a perfect example: It begins strong, fades to quietude, resurges to maximum amplitude, and repeats the process. For listeners willing to ride these waves, the experience can be unforgettable.

The Santa Rosa Symphony's performance of Mahler's epic work, in Weill Hall on a gloomy Sunday in early May, rewarded listeners amply. Under the inspired leadership of Bruno Ferrandis, the orchestra delivered a Mahler Third that remains etched in the mind.

The first notes, from no less than nine French horns, were bold, confident, and heraldic. The horns started loud and ended soft, punctuated by the beats of a huge bass drum on the other side of the stage. The notes rang out brightly, thanks in part to Weill Hall's superb acoustics. Only a slight discord on the top note marred the horn section's otherwise exemplary unison playing.

The horns dominated the long first movement, complemented by several gorgeous solos from principal trombonist Bruce Chrisp. Mahler marked the movement as "Strong, determined," and Ferrandis followed that instruction scrupulously. Despite the relatively slow pace and diversity of musical ideas, he marched the orchestra relentlessly forward. His movements on the podium were elegant and relaxed, a distinct change from earlier years when he seemed tense and high-strung.

An evocative offstage snare began the final section, which ended with a tremendous climax at top speed. It was hard to imagine what might follow, but the stage entry of Abigail Fischer, a young mezzo soprano, along with a women and children's choir that trooped into the choir loft behind the stage, marked an abrupt shift in mood. The second movement, a minuet, began slowly and quietly in the strings, with no brass in evidence. In the hands of the Symphony, the dance felt airy and graceful, with an effortlessly flowing theme.

The second movement morphed seamlessly into the third, marked "Without haste." Superb playing throughout the orchestra highlighted the many playful elements of this pastoral idyll, including bird calls and shimmering reflections. Most memorable, however, was an off-stage trumpet weaving in and out of the sonic fabric.

When the "Very slow" fourth movement began, Fischer finally rose from her seat and revealed her glorious voice. Over pianissimo strings, she glided into the rich, low opening words of Nietzsche's "Midnight song." "O Mensch! Gib Acht!" (Oh people, give heed) she sang, with excellent enunciation and a resonant tone. She made each note count.

Fischer continued standing to join with the chorus in the sprightly fifth movement, marked "Happy in tempo and impudent in expression." Here the children stood out, singing without score in purple dresses (girls) and white shirts (boys). Their bell-like voices were clearly audible above the black-clad women, many of whose faces were buried in scores that blocked their sound.

The Łber-climactic finale began magisterially in the strings, with the cellos carrying the melody. Ferrandis and the players were sensitive to the dynamics: Soft passages were truly soft, and loud ones swelled mightily. Mahler could go on forever, but he finally brings matters to a close with not one, not two, but three tremendous climaxes and a sustained ending that closes and opens repeatedly until at last settling on a final note.

[Reprinted by permission of San Francisco Classical Voice]