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Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 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 Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s 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 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 REVIEW
Mendocino Music Festival / Wednesday, July 22, 2015
Allan Pollack, conductor. Frederick von Stade and Melissa Angulo, soprano; Jeremiah Smith, bass-baritone

Frederick Von Stade (l) and Melissa Angula July 22 with Alan Pollack Photo (N. Wilson photo)

MOZART'S GENIUS UPSTAGES DIVA, YOUTH AND CONDUCTOR IN STERLING MMF CONCERT

by Terry McNeill
Wednesday, July 22, 2015

Mendocino’s eclectic Music Festival gave a strong imprimatur to the Mozart theme July 22 with a radiant orchestral and vocal concert in the big white tent on the Mendocino headlands.

The Overture from “The Abduction from the Seraglio” (K. 384) opened the concert in an adroit reading that was a happy prelude to the anticipated singing and the famous final Mozart Symphony.

In the first half works associated with Mozart’s operas were heard, and the starring role was given to the splendid mezzo-soprano Fredericka Von Stade. The venerable artist sang two arias (“Vedrai Carino” from Don Giovanni and “Una donna a quindici anni” from Cosi Fan Tutte), charmed the audience with repartee as only a diva can do, and joined with two young singers from Berkeley in sparkling duets. Jeremiah Smith came first with the “La ci darem” from Don Giovanni, a baritone aria that he sang with refinement but without the requisite power, and Ms. Von Stade was his perfect foil as Zerlina. More vocal potency came from soprano Melissa Angula in “Come scoglio” (Cosi), the singing being energetic but top notes were shrill and the orchestra covered her at times. Ms. Angula commands and long and even trills.

How is Ms. Von Stade at this point in a career that began 45 years ago in New York? She still has a lyrical Cherubino (Marriage of Figaro) with deft communication and élan if slightly reduced projection and vocal color, and she ebulliently commanded every inch of the stage. In the duo with Ms. Angula they sang from a faux score that when turned over revealed and large Nicholas Wilson photo of Mr. Pollack, to much laughter and apparently was unforeseen by the conductor. Ovations during this set from the audience of 750 were long and loud.

As good as the singing was, the C Major Symphony (K. 551, “Jupiter”) was the concert’s highlight. Here conductor Alan Pollack brought mostly moderate tempos to the four movements of Mozart’s last and greatest symphonic work. Solid brass and flute (Mindy Rosenfeld) playing characterized the opening Allegro Vivace with several modulations bringing the composer’s dramatic contrasts into relief and a lovely oboe solo from Thomas Nugent.

The Andante had a personal character with pathos and an occasional rhythmic surprise. The muted strings sounded suitably rich. The Minuet was played in the manner of Haydn, richly blossoming into the Trio of winds and strings. The conductor controlled all very well, letting the tympani give just the right foundation support.

If the multi-fugue finale doesn’t excite an audience, no Mozart symphony movement will, and here Mr. Pollack drove a quiet beginning into a swifter tempo than anything before. The many short themes whirled by with a lot of energy, and the conductor never let the polyphony become murky, even with the tent’s unique acoustics and at elevated volumes.

It was an uplifting and cogent performance, down to the final six epochal chords that were in a small way an additional declaration of Mozart’s compositional genius.