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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...
CHORAL AND VOCAL REVIEW
Sonoma Bach / Friday, November 20, 2015
Sonoma Bach Choir, Live Oak Baroque Orchestra. Robert Worth, Director. Elizabeth Blumenstock, violin

Sonoma Bach Conductor Bob Worth

A STERLING REQUIEM PERFORMANCE IN TRES

by Terry McNeill
Friday, November 20, 2015

Mounting a production of the Mozart D Minor Requiem (K. 626) poses difficulties absent from the usual 50-plus minute performance time. Historical questions abound concerning authorship, placement of musical sections and even the murky commissioning process.

Director Bob Worth moved to solve these difficulties in a Nov. 20 concert in Sonoma’s St. Andrew Presbyterian Church by a unique trifecta. First he conducted the Sonoma Bach Choir and Live Oak Baroque Orchestra in short snippets illustrating the composition. More formerly, he then presented the Requiem with four soloists as Mozart composed the work, abruptly stopped on the death date of Dec. 5, 1791.

Following intermission Mr. Worth conducted the Requiem in its most common format, as completed by Joseph Eybler and Mozart’s associate Franz Süssmayr. Süssmayr’s compositional style and handwriting are quite close to that of Mozart, and the music in both versions unfolds with uncanny similarity.

Acoustics in the white-hued a-frame church had little reverberation and from my seat featured the low string frequencies; with the delightful exception of Elizabeth Blumenstock’s solo violin passages. The orchestra’s standout instrumental sections were the trombones of Richard Van Hassel, Ernie Rideout and Bruce Chrisp, and two basset horns (played by Diane Heffner and Thomas Carrol). Mr. Worth controlled precise attacks and releases all evening and the 46-member Choir sang with power and stylistic penetration. Among the soloists (soprano Dianna Richardson, alto Karen Clark, tenor Kyle Stegall and bass Ben Kazez) Ms. Clark was especially prominent with distinct Latin diction and elegant phrasing.

In the final 50-plus minute Requiem the ensemble’s energy didn’t flag and the understated support of timpanist Kevin Neuhoff and Henry Lebedinsky’s continuo organ were crucial. This is a declamatory work laced with sadness and the four soloists, positioned between the conductor and the audience of 150, were everywhere strong. The pulsating four-chord passages, repeated three times in the Offertorium, were telling. There are short fugues throughout this piece, many leading to lovely descending lines ending in trombone solos (not always together, with Mr. Chrisp the standout) and surging bass and cello playing.

A standing ovation came with the last cutoff and Mr. Worth happily acknowledged selected Orchestra members and his soloists. It was a convincing combination of scholarly presentation and captivating music making.

The multi-faceted Requiem was repeated Nov. 22 in Petaluma’s St. Vincent de Paul church.