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Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
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.