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Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
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.