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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
Chamber
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
Chamber
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
Chamber
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
SYMPHONY REVIEW
Mendocino Music Festival / Saturday, July 11, 2015
Allan Pollack, conductor. Livia Sohn, violin

Alan Pollack Cheers Livia Sohn July 11 (Nicholas Wilson Photo)

SPLASHY RUSSIAN MUSIC IN MENDOCINO MUSIC FESTIVAL OPENER

by Terry McNeill
Saturday, July 11, 2015

Summer music festivals season tend to be launched each season with a sparkling audience-pleasing program, and the 29th Mendocino Music Festival opening concert was no exception July 11 with an all-Russian program in the big white tent concert hall on Mendocino’s breezy bluff.

Conducted by Artistic Director Allan Pollack, Shostakovich’s Jazz Suite No. 2 was an exciting beginning, a three-movement work from the 1930s that takes raucous orchestration to its zenith. The composer is a master at this kind of music, melding into the rhythms snare drum and trombone solos with in the second movement a “palm court” saxophone part.

Mr. Pollack conducted without score and was able to easily move the music from a circus polka style of the familiar “Waltz 2” movement to a forceful quick ride march in the final “Dance 1.” Bravos from the audience ensued.

Even given the Orchestra’s dynamic playing and catchy themes, the work quickly fades from memory. Not so with the Prokofiev 7th Symphony, the composer’s last from 1952. It’s a curious work, similar to the 7th (and last) of Sibelius in its autumnal character. And there are two possible endings to the last movement, one with a mysterious fade to the bell song of the opening Moderato movement, and one with 22 additional bars of a gallop and pulsating conclusion. I’ve usually heard the former but Mr. Pollack chose the latter, and it worked well.

The noble first-movement theme in C-Sharp Minor was played majestically, the sonic balance good with shining brass contrasting with a lonely triangle part and lovely solos from clarinetist Eric Kritz. Before the lively Allegretto began a faint sound from a rock band from the nearby McCallum House Inn wedding party was heard in the tent, a casualty of how loud music can carry far at night across an ocean bluff. Some audience clapping followed this movement’s conclusion, an acknowledgment of the Thomas Nugent’s oboe playing and pungent trombone and trumpet lines.

The wistful slow Andante was deftly shaped by Mr. Pollack, the music moving through remote keys and graceful colors. Adding to this rich sonic fabric were soft harp arpeggios (Anna Maria Mendieta) and piquant triangle and xylophone playing. A fetching combination.

A lot is going on with the finale’s boisterous march, and the connection to banal parts of the preceding Jazz Suite was palpable. It’s a loud movement in places, the sound distinct through the tent’s direct (non reverb) acoustics. The conductor with his signature sweeping arm movements was able to carefully juxtapose the propulsive and often violent sections with the composer’s mellow nostalgia. It became a satisfying benediction.

Programming this Prokofiev Symphony was a brave choice for Mr. Pollack, and the results were for me the evening’s highlight.

Tchaikovsky ’s marvelous D Major violin concerto with soloist Livia Sohn completed the program. Although even more popular than the Mendelssohn, Beethoven and Brahms concertos, the Tchaikovsky has been seldom played on the North Coast, and the last time I recall it was a potent Marin Symphony performance in 2010 with Vadim Repin.

Thematic richness characterizes the Concerto from 1878, and Ms. Sohn made the most of the Allegro’s stately themes and the conductor’s choice of a slow tempo. The interpretation was not weighty and Ms. Sohn was content to emphasize lyricism, legato ascending scale passages and chaste ritards before delicately held top notes. In climaxes her sound was sporadically covered by the Orchestra, but the long cadenza was played with enough virtuosity, though limited in power, to bring most of the audience of 800 to its feet in an ovation. And it was just the first movement.

In the following Canzonetta Ms. Sohn’s control of pianissimo was assured during short duos with clarinet, oboe and flutists Mindy Rosenfelt and Kathleen Reynolds. The phrases were shaped with elegance and subtle charm.

Without pause the music drove into a lively Allegro vivicissimo, and Mr. Pollack drew from the Orchestra some of the concert’s best playing. The tempo here was brisk, but not so fast that coordination with the violinist was affected. Ms. Sohn’s light and fleet bow technique was well matched to this quintessential pyrotechnical finale, and surprisingly the low register violin sound was as persuasive as the famous splashy high notes.

Applause was long and loud, but no encore was offered.