DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint.
With the powerful pianist Orion Weiss in t...
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time.
Bach’s E m...
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro
from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler.
Tackling Mahler ‘s D Major Symphony (No. 1,...
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Trumpeter Chris Botti
TRUMPET ON FIRE
by Philip Beard
Friday, September 11, 2015
Chris Botti’s show at SSU’s Green Music Center Sept. 11 was a real barnburner. The highly acclaimed, much-traveled trumpeter--his group is on the road over 300 days a year, playing always to large audiences--was making his second appearance at Weill Hall and Lawn, two years after his sold-out first visit.
Some things change, some don’t. The big change this time was the stage. Weill Hall has invested God knows how much in a sumptuous array of floor-to-ceiling curtains and lights and gadgets that turn the stage into a cabaret on steroids for correspondingly oriented groups--rock/pop, amplified--and their presumably large audiences. Setting the array up and tearing it down for smaller-draw acoustic events are surely prodigious technical feats in themselves.
Effects include multi-hued floodlight washes over the back curtain, ranging from subtle to garish; flickering, dancing light patterns evidently intended to evoke moods matching the number being played (think fluttering leaves in an aspen forest); occasional bright lights aimed smack into the audience’s eyes; and a mist machine that sent up an evanescent fog into the backlit celestial regions of the set all concert long (to evoke nostalgia for smoke-filled nightspots?). All very impressive if that’s what turns your crank.
There, I’ve betrayed my anti-jumbo bias. Sorry, but it borders on sacrilegious to gussy up a world-renowned acoustical masterpiece like Weill Hall to accommodate the mega-amped productions that the venue’s current managers evidently favor. No doubt they’ll defend their bias in the name of “what the public wants to hear.” Fair enough; it’s tough to argue against near-sellout crowds. But tasteful? No.
Onward to the far more enjoyable topic of what hasn’t changed. That would be Chris Botti’s stunning show, in many ways a carbon copy of the group’s offering of two years ago. As I revisit my review of that concert, I’m struck by the close match between my impressions then and now. So, full disclosure: The following remarks occasionally crib from that piece.
The three best-dressed people in the hall were Botti himself, in a plain black suit with black tie, and his two female sidekicks, violinist Caroline Campbell in a slinky red gown and vocalist Sy Smith in a lovely patterned satin halter-top dress. The band was filled out by Andy Ezrin on keyboards, Lee Pearson on drums, pianist Geoffrey Keezer, Ben Butler on guitar, Richie Goods on upright and electric bass, and tenor vocalist George Komsky. Illustrious performers all.
The concert began with an unnamed ballad that set the default tone for the evening: Botti introducing the theme with his rich, honest trumpet sound, joined in duet by Campbell’s sinuous violin. After a couple of choruses the band chimed in with shimmering background chords and rustling snare brushes under soaring lyrical solos from the two principals.
Botti plays with an adjustable mike that produces a darker, more flügel-like quality the farther he bends it into the bell of his horn. Campbell’s amplification spectrum includes a low register that sounds like a herd of cellos, incongruous coming from this single violin, but effective in its own gutsy, boomy way. The number ended on a very soft, very high, perfectly in-tune trumpet note that Botti held for longer than seemed humanly possible. No, he was not circular breathing. This prodigious breath control is clearly a Botti trademark.
The uncomfortably high decibel level noted in 2013 was augmented this time by a yet more pronounced reverb effect, arguably beneficial in setting the intended smoky mood but occasionally blurring the soloists’ soft, quick passage work and homogenizing their individuality.
The group moved to an upbeat bossa-nova-style rendition of the ballad “If I Fall in Love,” full of fast runs, jazz licks, rips, and alternate-fingered tremolos. For you non-brass players, that’s a note repeatedly slurred to itself using a different valve combination. Another breathtaking high-note flourish ended the piece. After the next offering, a heavy-drummed funk number featuring a flashy solo by Geoffrey Keezer, Botti spoke to the audience for the first time. He immediately engaged them with his easy repartee, delivering the obligatory encomium to the hall (the “Tanglewood of the West Coast,” by his telling), and schmoozing with some young musicians sitting at the front of the audience. His stage presence was articulate, humorous, warm.
The concert progressed without intermission through an excitingly varied sequence of numbers encompassing Latin salsa, Motown funk (vocalist Sy Smith scatting high and fast), slinky ballads à la Andrew Lloyd Webber, homages to Botti’s early inspiration Miles Davis, Leonard Cohen’s “Hallelujah,” pop standards like “The Very Thought of You,” a couple of Andrea Bocelli songs--a versatile mix, and all played from memory.
Brilliant solos abounded. Keezer’s brilliant piano improvisations stood out all evening. Tenor George Komsky showed off his Bocelli-esque pipes adequately. Drummer Lee Pearson played a ten-minute tour de force that saw him shedding his jacket while continuing to whack away, switching to conga-style hits, including barehanded cymbal crashes, whipping blindly around all his drums and cymbals with his face covered by a towel. This was immensely crowd-pleasing.
Most impressive of all, though, was violinist Caroline Campbell’s solo fantasia--full of double stops, lickety-split arpeggios and harmonic overtones--that established her credentials as a serious crossover violinist equally at home in the classical and pop/rock worlds. By the time the band joined in, switching to a hard-beat Led Zeppelin standard, she was flinging her long blond tresses all over the stage, sawing away like a woman possessed. She earned the loudest standing ovation of the evening, engendering Botti’s laconic remark “Bet you weren’t expecting that.”
A nice counterpoint to all the musical pyrotechnics was Botti’s folksy interplay with the audience. At one point he and Smith left the stage and moved slowly out to the lawn, jamming and serenading all the way, regaling aisle sitters with up-close personality, encouraging them to take pictures. Pausing at one point next to two empty seats, he quipped, “They held these ones for Donald Trump.” Supply your own exegesis. Then they walked back down to the stage, riffing/scatting back and forth, dueling with their respective high-range light swords, enjoying themselves mightily, and reveling in the adoration.
As a trumpet player, Botti richly deserves his star status and he has obviously worked hard to achieve it. His tone is straightforward and honest, employing only a bare minimum of occasional vibrato. Though he lacks the booming low register and the high-range dexterity of an Arturo Sandoval, or the tonguing/breathing pyrotechnics of a Wynton Marsalis, his attacks are clean and accurate, his high notes fat, secure, and in tune, and his breath control stupendous. Arguably the most successful brass instrumentalist of our times, he stands out for his easy, clever patter and his and his band’s sheer longevity, almost as much as for their technical prowess.
The continued popularity of Botti and his band leads one to expect they’ll keep it going for many more years. While the amped-up rock-concert-cum-light-show effects are decidedly not this reviewer’s cup of tea, Botti and his top-flight companions certainly command our respect and admiration. Now if they would only use their stature to help lead pop music away from its over-reliance on manufactured effects. One can dream, right?
Mark Wardlaw and Scott Nygard contributed to this review.