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Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious building that is one of Sonoma County’s loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.  Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago “Golden Era” of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didn’t play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuber’s work to the public’s attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
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)