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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
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.