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Recital
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...
Symphony
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...
Recital
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...
Recital
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...
Chamber
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...
Recital
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...
Symphony
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,...
Symphony
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...
Recital
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...
Symphony
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...
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)