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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
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...
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...
Symphony
MONUMENTAL NIELSEN SYMPHONY CAPS SO CO PHIL CONCERT AT SR HS
by Terry McNeill
Saturday, January 27, 2018
Turning again away from conventional repertoire, the Sonoma County Philharmonic programmed Jan. 27 three works in what were local debut performances in Santa Rosa High School’s Performing Arts Center. Nielsen’s Fourth Symphony, Op. 29, called “Inextinguishable,” closed the program with an extravaga...
Chamber
ECLECTIC ANDERSON & ROE TRANSCRIPTIONS CAPTIVATE WEILL HALL AUDIENCE
by Nicki Bell
Sunday, January 21, 2018
From the first moment when Greg Anderson and Elizabeth Joy Roe walked Jan. 21 on the Weill Hall stage and spoke to the audience about their two-piano program, it was clear that an afternoon of drama, humor, virtuosity, warmth, transcendence and excitement was in store. This dynamic and mesmerizing ...
Chamber
BALCOM TRIO HIGHLIGHTS DELPHI'S RAC CONCERT IN OCCIDENTAL
by Sonia Morse Tubridy
Saturday, January 20, 2018
The Redwood Arts Council audience first met the Delphi Trio (Jeffrey LaDeur, (piano), Liana Berube (violin), and cellist Michelle Kwon) in 2013, and subsequent concerts in the same Occidental hall have become crowd favorites. The January 20th program before a capacity audience seemed to have enthus...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, November 08, 2008
Bruno Ferrandis, conductor
Gilles Apap, violin

Gilles Apap

APAP! GOES THE FIDDLE FOR SANTA ROSA SYMPHONY

by Steve Osborn
Saturday, November 08, 2008

In the publicity photo for his solo appearances with the Santa Rosa Symphony, violinist Gilles Apap is shown holding his instrument sideways, with the F-holes facing out and his goateed chin resting on the bottom edge, far from the actual chin rest. One assumes that the photo captures him in a moment of repose or contemplation, since playing the violin in such an awkward position would be virtually impossible. Impossible, it turns out, for anyone but Apap, who really does play his violin sideways, frontways, upways, downways — just about any which way but normal way.

Apap’s unorthodox approach to fiddling was evident before he even set bow to string in his Nov. 8 concert with the symphony. Accompanied by tuxedo-clad Maestro Bruno Ferrandis, he strode upon the stage wearing a black open-collar shirt, black pants and an impish grin. He then made a laugh-provoking comment to the orchestra — unintelligible to those of us in the distant reaches of the balcony — before wandering around in his designated space, trying to find the right spot.

When Apap finally started playing Alban Berg’s miraculous Violin Concerto, the tone that emerged was gorgeous and other-worldly. He exhibited masterful bow control and a wide, expressive vibrato well suited to the elegiac mood of the concerto, written “To the Memory of an Angel.” If one were to hear such playing on a recording, one would imagine a violinist firmly planted on the ground, striving mightily to keep bow glued to string while producing a fluid stream of sound.

The reality was quite different. Apap was constantly on the move, not only with his feet — which carried him all over the front of the stage and into the orchestra — but also with his left arm, which kept yanking his violin from normal position down into the nether reaches of his shoulder and chest. He punctuated the ends of phrases by pulling the violin away from his body, bow still attached, seemingly commanding the instrument to levitate of its own accord.

As the antics continued, one began to wonder if they were merely a sideshow or if they were actually connected to the music at hand. Maybe Apap goes through similar gyrations when he performs other concertos, but in this case the antics seemed to be in keeping with Berg’s music, which is often operatic and expressive in the extreme. In his Gypsy dance with the violin, Apap seemed to embody the conflicting emotions and pangs of love that propel Berg’s music. To be sure, Berg is mathematical and precise, but his concerto depicts the death of a young girl, the frustrations of his own illicit love affair, and the impending agony of the Nazi era. In the face of such an emotional overload, who wouldn’t strut and fret upon the stage?

The only complaint — and it is a familiar one — is the inadequacy of the acoustics in the Wells Fargo Center. Berg’s concerto is quite delicate, with a wealth of intricate passagework and contrasting dynamics. Much of this delicacy was lost in the muddy haze of the Person Theater, as was the tone of Apap’s violin, which didn’t seem quite as full as it could have been.

Acoustics were also a prominent feature of the opening work, György Ligeti’s “Lontano,” which begins pianissimo in the flutes and only rarely gets much louder. Like many of Ligeti’s compositions, “Lontano” quickly establishes an eerie, haunting atmosphere characterized by tremolos in the strings and iridescent tones from the woodwinds. The effect is spellbinding and filled with expectancy. In this case, however, the expectancy led nowhere, as the brief piece concluded before it could take off. One ended up wanting more.

Not to worry. “More” arrived not only with the Berg concerto, but also with Schubert’s lengthy Symphony No. 9. Aptly titled “The Great,” this magnificent work puts the full orchestra on display and requires unflagging intensity from beginning to end. Ferrandis happily supplied the intensity, propelling his musicians forward with a virtual whirlwind of arm gestures punctuated by a rock-steady baton. He set a tempo and kept to it, never flagging except when occasion demanded, as in the lilting melodies of the second movement. At these times, the orchestra slowed as one, then quickly accelerated to its previous beat.

Ferrandis is like a bird in flight, surveying the sonic landscape below, occasionally swooping into the various sections of the orchestra to bring them forward. The playing was exceptional throughout. The violins stayed on top of their demanding part, which ranges from intricate filigree to syncopated romp. The lower strings provided the rhythmic drive that characterizes Schubert’s symphony, coming through repeatedly with convincing and resonant lines. As for the woodwinds, brass and percussion, they blended in seamlessly, completing the glorious sound.

All in all, the performance was as much as one could ask for from a regional orchestra with a perpetually shifting cast of musicians. No matter where they come from, Ferrandis takes them all in and elicits a unified, unison sound. It’s amazing what two arms and a little upper-body movement can do.