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Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
OPERA REVIEW
Mendocino Music Festival / Friday, July 15, 2016
Festival Orchestra, Alan Pollack, conductor. Directed by Erin Neff. Singers: Phil Meyer (Osmin); Chester Pidduck (Pedrillo); Nikki Einfeld (Konstanze); Molly Phelan (Blonde); Sergio Gonzales (Belmonte)

Molly Phelan (l) and Paul Thompson (r) with Seraglio Cast Curtain Call July 15

ONE-NIGHT STAND AT MMF'S ABDUCTION FROM THE SERAGLIO

by Terry McNeill
Friday, July 15, 2016

Mozart’s Opera “Abduction from the Seraglio” has a long reputation as being tough for singers, and it was with some trepidation that I entered the Mendocino Music Festival’s massive white tent July 15 to hear and see the new production from the 30th season. Not to Worry.

Conducted by Festival Artistic Director Allan Pollack, the three-act work from 1782 was staged with minimal sets and a small cast of six. As in past MMF operas the orchestra was placed behind the sets, and the tent’s direct and non-reverberation sound was fresh and live, though as in Wagner’s Festspielhaus not seeing the conductor and bow movement can seem disconcerting.

Erin Neff directed the production that was sung in the original German with English supertitles positioned in the middle of the set and long intra-aria monologues, also in English. Set lighting and costumes were minimal.

Bass Phil Meyer (Osmin) dominated the first act with antics that bordered on slapstick, with plot twists in the Turkish harem pitting Sergio González (Belmonte) against Pasha Selim (Paul Thompson) and Osmin to rescue ladies captured by ersatz pirates. Mr. Thompson had a commanding deep speaking voice and Mr. Meyer captured throughout the three acts the comic nuances of Osmin’s villainy. His legs had ample spring.

A highlight of Act II, and perhaps the entire opera, was Nikki Einfeld’s (Konstanze) extended aria “Martern Aller Arten” where she nailed the character’s romantically faithful pain and lament, and with the subsequent mundane torture scene brought down the house with loud applause. In these sections of the score Mr. Pollack drew lovely playing from the horns and timpanist Mark Veragge, and a bevy of short solos from of cello (Stephen Harrison), flute (Mindy Rosenfeld) and clarinet (Eric Kritz). In this music one could hear snippets of Mozart (other operas, the “Jupiter” Symphony) that would appear in the following decade, and Mr. Pollack made a deft selection of tempos that elegantly supported the singers.

A foil for both Osmin and Pedrillo (Chester Pidduck) was the lively Molly Phelan, playing Blonde with great panache but with pinched notes in the high treble. The famous quartet, mirroring the duos and arias “Durch Zärtichkeit und Schmeichein” and Welch Ein Geschick,” easily established for the singers and the audience of 600 that devoted and steadfast love would conquer the Pasha’s seduction demands and Osmin’s murderous threats.

Mr. González’s voice on this evening lacked a rich tenor glow but had enough projection to carry to the back of the tent, and Mr. Pedrillo’s big moments during the third act’s midnight scene, when escape for all four is at hand, was both urgent and funny. After the singer’s release from Seraglio captivity the conductor drove the music to a potent conclusion, and then joined Ms. Neff and the cast on stage for an extended ovation.

A common request for Festival listeners is to ask for repeat performances of opera productions, but alas, like in past seasons, this masterly opera was mounted just for one night. The composer surely would have demanded more.