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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
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
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...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
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...
CHORAL AND VOCAL REVIEW
Church of the Incarnation / Friday, March 25, 2016
St. Cecilia Choir, Cantiamo Sonoma, Incarnation Chamber Orchestra and soprano Claire Frydenlund. Carol Menke, conductor

Carol Menke (left) lauds performers after March 25 Requiem performance

RUTTER REQUIEM PERFORMANCE ENNOBLES GOOD FRIDAY CONCERT AT INCARNATION

by Terry McNeill
Friday, March 25, 2016

There is a lot to like in John Rutter’s Requiem. Composed in 1985, it’s arguably the most performed large choral work of recent times, and it was a labor of love for choral director Carol Menke’s musicians in a memorable Good Friday concert in Santa Rosa’s Church of the Incarnation.

Splendid Requiems seem perfectly suited to Incarnation, and I recall recent Duruflé and Cherubini versions, and another Rutter directed by effervescent Ms. Menke three years ago. The March 25 concert before a standing room audience was a radiant transversal of the short 45-minute score that involved Cantiamo Sonoma and the St. Cecilia Choir, a tiny orchestra and soloist soprano Claire Frydenlund.

Rutter’s warmly accessible work comprises seven movements with Latin liturgy and additional texts in English, and in this performance 24 singers with Robert Young’s organ (often in pedal point) combined with six musicians under Ms. Menke’s deft control. Timpanist John Weeks, harpist Wendy Tamis and flutist Jane Shelly played well in the opening Introit and Kyrie, though choir entrances sporadically were ragged and the ensemble initially unsteady but quickly settled down.

The somber “Out of the Deep” began with a moving lament from cellist Laura McLellan that wove in and out of the vocal fabric, and the antiphonal effects in the small sanctuary were clear. Ms. Frydenlund’s soprano had greater resonance and command when she sang at the top of her range, over long organ, cello and harp phrases.

The celebratory Sanctus was enlivened all the more by Tim Dent's’ glockenspiel playing, a contrast to the dirge-like Agnus Dei with an extended and haunting flute solo by Ms. Shelly. Psalm 23 is the text for the bucolic sixth part (“The Lord is My Shepherd”) where the rich Andante vocal lines blossomed out of an extended fabric of elegant oboe playing by Laura Reynolds.

In the finale Lux Aeterna Ms. Frydenlund, singing from the choir, returned with a chaste duo with the flute and soft timpani. Here the music became glowing and presented a transfiguring effect on the audience.

After the last notes Ms. Menke’s hands slowly returned to rest, and as she turned to acknowledge the rapt hearers, there was no response for at least ten seconds before ovation broke the silence. The conductor, Sonoma County’s busiest and best-known soprano, has developed a penchant for producing captivating requiem performances that ennoble their calendar season, composer and community.