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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 Rosa’s 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 Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s 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 Saëns, 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 Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
OPERA REVIEW
Cinnabar Theater / Saturday, June 13, 2015
Mary Chun, conductor. For cast see June 12 entry

Jo Vincent Parks as Sir John Falstaff June 12 (E. Chazankin Photo)

SIR JOHN'S VISUAL FEAST IN CINNABAR THEATER FALSTAFF PRODUCTION

by Terry McNeill
Saturday, June 13, 2015

Verdi’s operas tend to have a visceral impact on listeners, the connection forged by emphasizing starkly realistic human emotions and glorious tunes for singers and richly hued orchestra writing. But not in his last opera written in 1893: Falstaff.

In only the Italian master's second comedy, Falstaff can seem at well over two hours drawn out and lacking the catchy melodies of the operas Rigoletto, Aida or Ernani. Petaluma’s Cinnabar Theater production began June 12, running for nine performances to June 28, and on opening night overcame the familiar with a brilliantly conceived production that featured theatrical rather than musical splendor. It was a different kind of Falstaff.

The cast was strong, led by Jo Vincent Parks as the insouciant Sir John, Eileen Morris’s Alice Ford, veteran Cinnabar artist William Neely as Alice’s husband, Krista Wigle as Mrs. Quickly, and Scott Joiner and Aurélie Veruni as the young lovers Fenton and Nannetta. And the production was large, combining 23 singing roles with a 12-piece orchestra conducted by Cinnabar Music Director Mary Chun.

Sonic balances through the three acts in the small hall were mostly good, the orchestra occasionally covering the singers, but never Mr. Parks stentorian baritone, Ms. Morris’ soprano or Mr. Neely’s paced and agile baritone. In many ways the women’s roles upstaged those of the men, and Ms. Wigle and Kim Anderman (Meg) added as much comedy as Mr. Parks with his pratfalls and pomposity, and his groupies Bardolf and Pistol (Ted Zoldan and Sepp Hammer). Throughout the opera Falstaff is pummeled, derided, thrown into a huge laundry basket, and finally unceremoniously tossed into the river after being constantly tricked by four savvy women that know the territory far better than he does. But in Mr. Park’s interpretation he survives physical and emotional upsets to achieve a small triumph, where at the end he declaims the world is folly and people are simply figures of mirth.

In this unique production, the first Falstaff on the North Coast in many years, there is a novel development. Stage Director Elly Lichenstein has fashioned a glittering visual drama, full of busy choreography and vaudeville touches, but as the acts unfold the opera’s core impact moved from the audio to the visual. The subtlety of Verdi’s urbane music faded into to the background of farcical revelry and evocative stage sets. The secretive sliding windows in the back wall location allowed pungent vocal “asides” to be rapidly delivered and kept interest centered on the dramaturgy and Sir John's foolish amorous ambitions.

This is not to say the beguiling score was not well presented, as Ms. Chun deftly controlled the string sound and contrasting colors from percussion, winds and even chimes (12 of them) when Falstaff in costume is moving to an anticipated assignation with Alice Ford. First violinist Claire-Jeanne Martin played graceful solos, string tremolos and horn calls highlighted the drama, and Steven Hoffmann (bass viol) and keyboardist Michael Anthony Schuler provided sonorous continuo support.

Costumes in this production, designed by Lisa Eldredge, were exemplary and especially extravagant in Scene Two of the Third Act and worn throughout by Mr. Parks and Ms. Wigle. They were delightfully outrageous costumes, in the Cinnabar tradition, as the production set in the 1950s featured bright orange, pink and blue tints on dresses, pants and even shoes.

Eileen Morris in the role of Alice was an organizing force in the group conspiring to bring Sir John Falstaff to his comeuppance, and she captured the bit of devil in the role. The part of Meg is not so prominent, though Ms. Anderman aided Ms. Wigle in moving the uninhibited slapstick forward. It was a performance without extended arias, save for Mr. Neely's Act 2, Scene 1 solo, Mr. Joiner’s lyrical singing that began Act 3, and Ms.
Veruni's fetching "Queen of the Fairies" aria in Act 3.

Cinnabar has a sparkling history of adding new twists to conventional opera plots, always in English, and connecting trenchantly with the audience. This Falstaff production meets a high professional standard and the packed opening-night audience applauded with gusto.