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...
Tenor Nicholas Phan
MEDITATIONS ON THE ARTIST
by Mark Kratz
Sunday, January 17, 2016
Schroeder Hall's vocal recital Jan. 17 centered on the life of the artist, and tenor Nicholas Phan described the recital as “meditations on the artist” that highlighted the concepts of hypersensitivity and a sense of child-like wonder that many artists experience.
The entire first half of the recital was Schumann’s song cycle Dichterliebe, Op. 48. It is a work comprised of sixteen pieces set to the poems of romantic German poet Heinrich Heine with the overall storyline of a poet’s discovery and loss of love.
Mr. Phan and pianist Myra Huang both bring a large palette of different sound colors to this piece. In the fourth song of the cycle, “Wenn ich in deine Augen seh”, the final line translates to: “Yet when you say, ‘I love you!’ I must cry so bitterly.” Mr. Phan’s pure and focused sotto voce on the words, “I love you!” truly brought the house to an audible silence.
The seventh song of the cycle, “Ich grolle nicht,” stood out as a dramatic gem and one of the more difficult pieces in the cycle. In essence, this piece is about losing love and realizing the other person was not in fact who you believed them to be. “Ich grolle nicht” has a large range of almost two octaves and sits rather low in the voice until the ending, then soars to a high A. Mr. Phan’s tone was very dark and heavy for most of the piece and it was evident when he approached the higher range that the sound was forced and somewhat strained. This could be said of most of Mr. Phan’s higher range while singing full voice throughout the afternoon. Though sounding a bit strained, you could see the fire in the singer’s eyes and his intense connection to the text. His diction was so intense that you could see sprays of passionate saliva spewing into the front rows!
Ms. Huang was able to extract a myriad of colors and sound sizes from the piano. Throughout Dichterliebe she had the ability to accompany like a small exposed string quartet, as in the blocked chords of the thirteenth song, “Ich hab’ im Traum geweinet.” She could also play like a full orchestra as in the ninth song “Das ist ein Flӧten und Geigen.” In this piece she used thick resonant left hand chords under a never ending right hand line that sounded like an entire first violin section. Ms. Huang ended Dichterliebe with a short piano section where she laid out a hauntingly expressive melody mixed with extreme sensitivity to the chromatic journey in the final measures of the work.
The all-English second half opened with Britten’s setting of Winter Words by 19th century poet Thomas Hardy. In Winter Words Hardy examines innocence and its frailty. Mr. Phan said, “Artists seem to always keep their child like wonder.” This piece examines why and how we lose that innocent wonderment of the world. Mr. Phan and Ms. Huang brought Britten’s use of polytonality and text painting to the spotlight light in this piece. In the second song “The Journeying Boy” we heard a train whistle in the piano that begins as a tight, dissonant chord that resolves to a very open and empty minor chord. This leaves the listener with a sense of foreboding about the boy’s journey. The fourth piece “The Little Old Table” employs a whimsical dialogue between the singer and the pianist. Both performers mimic a table by imitating the creaking of wood as a way of communicating its past.
The recital continued with four poems from the prolific American poet Walt Whitman set to music by Ned Rorem. Mr. Phan looked and sounded like he was very much at home with these pieces. His exceptional control of his sotto voce, when not pressed, has a lovely lyrical tenor sound. By far the most beautiful of the Rorem pieces was “That Shadow, my Likeness.” Here Mr. Phan use a brighter more Italianate sound and it was simply stunning in regard to both color and line.
The final set on the recital was Friendly Persuasions by American composer Jake Heggie (who composed the opera Dead Man Walking). In 2008, Heggie and librettist Gene Scheer were asked to compose a song cycle for a concert of music by French composer Francis Poulenc, and Scheer chose to base the texts of the pieces on significant friendships that steered Poulenc’s colorful career. Throughout the four pieces one can hear Heggie’s references to Poulenc’s harmonic language.
Mr. Phan seemed totally connected to this set both vocally and dramatically. The third song “Raymonde Linossier” was one of the most exquisite moments of the entire program. The piece begins with text painting from the piano. The accompaniment descends as the words “A green leaf falls to the ground, pulled from the branch too soon…” are sung. Although a homosexual, Poulenc had a deeply rooted long time Plutonic love for his friend Raymonde Linossier. When she declined his proposal for marriage, the two had a falling out, and they never mended ways and Linossier died an untimely and unexpected death. Mr. Phan channeled Poulenc’s heartbreak and despair with the words: “Part of my life will always belong to you.”
Mr. Phan and Ms. Huang presented a dynamic and polished recital focused on images of the artist. They both showed great detailing in their colors and their wide range of techniques. Though a bit heavy sometimes, Mr. Phan has a clean lyric tenor sound, and possesses amazing control of sotto voce and mixed voice. Ms. Huang is a skilled and sensitive artist.