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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
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.