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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
Santa Rosa Symphony / Sunday, February 21, 2016
Bruno Ferrandis, conductor. Rachel Barton Pine, violin

Violinist Rachel Barton Pine

EVER WESTWARD ETERNAL RIDER

by Steve Osborn
Sunday, February 21, 2016

Like her violin virtuoso colleagues, Rachel Barton Pine can make herself heard above the din of a full orchestra without noticeable effort; but what made her Feb. 21 performance with the Santa Rosa Symphony memorable was how softly she played. Although she dispatched the forte and fortissimo passages in the Beethoven D Major concerto with élan, her intensity increased markedly the softer she became. The most gripping points in each movement were the trills and other filigrees in the upper registers, which she played on the very edge of audibility to a rapt Weill Hall audience.

Any musician can play loudly, but those who can play quietly without any loss of energy or tempo are rare indeed. By the same token, any competent soloist can play all the notes of the Beethoven concerto, but those who can make sense of them and express their meaning are few. In this department, Pine was somewhat lacking. She hit all the notes, to be sure, but her performance was occasionally choppy and lacked fluidity.

Instead of merging one phrase or musical idea into the next, Ms. Pine often separated them, disrupting the forward motion and draining some of the drama. More often than not, however, the beauty of individual passages shone through. Her cadenza for the first movement was a treat, as was the lovely duet with bassoonist Carla Wilson in the slow movement. Ms. Pine seemed finally to relax in the playful finale, which was marked by a forceful and convincing drive to the conclusion.

The applause was significant, so the violinist obliged with an encore: the Andante from Bach’s second sonata for unaccompanied violin. Here again the pianissimo was bewitching, and it combined with a steady pulse on the lower strings to ravishing effect.

More ravishment appeared in the second half, in the form of Bruckner’s unfinished Symphony No. 9. This colossal work lasts over an hour, and that’s just for the first three movements. Who knows how long it would have been had Bruckner lived to complete the finale?

Ultimately, time is immaterial in Bruckner’s final work. The structure he employs in all three movements resembles nothing so much as a series of ocean waves, beginning in a valley and rising inexorably to a peak before crashing down again. The ascents and descents are most often chromatic, with a lushly romantic aura: chromanticism. Bruckner’s technique may be chromantic, but his content is most often dark and dramatic, even sinister. He incessantly combines and recombines short motifs that lead ever onward. His quest seems to be for some deep, hidden meaning in the world of sound.

Conductor Bruno Ferrandis displayed a firm grasp of Bruckner’s score, carefully guiding his players through the various phrases, crescendos and decrescendos, accelerandos and ritards. He most often conducted with two symmetrical hands, drawing out a foreboding, intense and elemental sound.

The first movement was spine-tingling, resolving in the home key at the very peak of a wave. The intensity only increased in the second, which features a devilish seven-note figure--a triplet and four march steps on a single note--that Gustav Holst later appropriated for the Mars section of “The Planets.” In Holst, the figure conjures up the god of war, but here it seemed a symbol of onrushing fate. Again, Mr. Ferrandis and company played the score to maximum effect, creating a tremendous, fiery sound with sustained energy.

The third movement proved even more gripping. The playing was muscular and assured, and the orchestration was dazzling. The conductor kept all the iterations of the theme intact, leading to a startling dissonant chord that resolves into a serene passage at the end.

The performance was one of the Symphony’s most profound efforts in recent years, rivaling anything they’ve done in that time. An otherwise unremarkable Sunday afternoon turned into a thrilling exploration of uncharted musical territory, filled with both apocalyptic fury and rays of hope.