Home  Reviews  Articles  Calendar  Presenters  Add Event     
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
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
OPERA REVIEW
The Magic Flute / Saturday, June 11, 2016

Jacob Thompson and Morgan Harrington in Mozart's Magic Flute

FROTHY FROLICKING AT CINNABAR'S MAGICAL FLUTE

by Terry McNeill
Saturday, June 11, 2016

Though having just two acts, Mozart’s Opera “The Magic Flute” encompasses a jumbled fairy tale plot with complicated staging and myriad performers in demanding vocal roles. Petaluma’s Cinnabar Theater took up the arduous challenge of this 1791 work, among Mozart’s last, in a series of performances that opened on the June 10 weekend.

Even with intricate staging, an opera’s success usually rides on achieving a glorious performance of the score and vocal lines, and here Mozart’s composition was surely glorious, as conductor Mary Chun drew from a 12-musican orchestra placed stage right a warmly nuanced reading that never covered the singers. In fact, the singing, in an English translation by Ross Halper, was crystal clear in the intimate 115-seat theater with zero reverberation. Ms. Chun’s tempos were judicious all evening and she sculpted precise attacks and releases. The musical phrases were always supple.

Cinnabar’s annual opera is invariably extravagantly staged and this “Flute” production was no exception. Though using only one set, the wide stage was brilliantly alive with a kaleidoscopic-lit back wall and touches of bright blue and yellow lights (from designer Wayne Hovey) and Lisa Claybaugh’s period costumes fit the actors perfectly. Stage Designer Sharlyn Klein and Stage Director Elly Lichenstein fashioned a theatrical romp that paid homage to the Beatles and had copious references to 1960’s clichés and jargon. The premise for this “magical mystery tour” is the convoluted plot (originally in Egypt) that leads a pro-forma opera
hero (Tamino) and a slapstick bird catcher (Papageno) on a quest for romantic satisfaction, with many false starts, physical trials and comedic predicaments.

This lavish mounting of an opera of exceptional fantasy may not have been to everyone’s taste, as vaudeville and inane humor can easily move attention from the radiant music and slide into absurdity. But the full-house audience Saturday night loved the showy histrionics and the playoff of Las Vegas-style costumes and dance (the three ladies) with the commanding and august personage of Sarastro (bass Richard Mix) and his dutiful and stoic priests.

Well, how was the singing in this hybrid drama (“Singspiel”) that combined spoken words and snippets of arias? On the whole it was convincing and meshed well with the stage action. Tenor Jacob Thompson (Tamino) and Soprano Morgan Harrington (Princess Pamina) had the most lengthy roles, and Mr. Thompson sang with a healthy if never really lyrical voice, and Ms. Harrington’s light spinto voice had ardent charm. Both were often upstaged by the antics of Eugene Walden’s portrayal of the witless but determined Papageno, whose athleticism and clowning stole several scenes from the adjacent royalty and even the menacing Dana Pundt as Queen of the Night.

Ms. Pundt sang the flowing black-dressed Queen's famous Act II aria (Der Hölle Rache)) with the requisite power and Julia Hathaway’s bouncy interpretation of Papagena brought an equally lively response from her not-now-reluctant suitor Papageno. Their boisterous solos (Papageno's “Papagena! Papagena! Papagena!” and the “Pa-Pa-Pa-Pa-Papagena!” duet) were highlights of the drama. All the frolicking came to an end with the demise of insidious Queen and her acolytes, and Mr. Mix pronouncing a stentorian blessing on the assemblage.

If a scintillating mixture of farcical stage theatrics and meticulously crafted classical-era music is attractive, and it should be, Cinnabar’s new production cannot be missed.

Additional performances, with some cast changes, are set for June 17 (8 p.m.), June 18 (8), June 19 (2), June 24 (8), June 25 (8) and June 26 (2)