Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, November 06, 2016
Bruno Ferrandis, conductor. Orion Weiss, piano

Pianist Orion Weiss

ORION WEISS TAKES BARTÓK AT THE SPEED OF LIGHT

by Steve Osborn
Sunday, November 06, 2016

Gifted pianists are everywhere these days, but few have the prodigious speed, stamina, and musicality of Orion Weiss. He exhibited all these qualities in a memorable rendition of Béla Bartók’s second piano concerto with the Santa Rosa Symphony Nov. 6 in Weill.

Weiss is a no-nonsense pianist. He seated himself at the piano, gathered his energies, and then launched full bore into the finger-crunching opening runs of the Bartók. He spent nearly all his time staring at his hands, as if guiding his fingers with his eyes rather than his arms. The speed of light seems like the most plausible explanation for the astonishing rapidity and precision of his attack. He was able to control the resonance of the piano with finger speed as much as pedal. In one soft passage, he achieved a haunting effect by striking the keys with so much speed that the notes died away as soon as they sounded.

The Bartók requires a considerable amount of fire from the soloist, an element that Weiss has in profusion. Although he was occasionally drowned out by the winds in the Allegro first movement, he flamed forth time and again, fully igniting near the end with an incredibly fast cadenza.

The entry of muted strings in the second movement brought an entirely new world of sound, to hypnotic and engaging effect. Weiss arose out of this background by producing tremendous volume from his instrument, accented by a beguiling duet with tympani. The tympani featured prominently in the final movement as well, along with a booming bass drum. Much of the movement is given over to a vigorous call-and-response between piano and orchestra. Weiss not only matched each orchestral outburst but kept raising the ante all the way to the transcendent conclusion.

The opener, Liszt’s symphonic poem “Les Préludes,” stood in pale contrast to Bartók’s masterpiece. Liszt’s orchestration is competent, but his melodies are insipid and his development evanescent. Nonetheless, the orchestra played flawlessly under conductor Bruno Ferrandis, with elegant solos from the French horn and oboe. After an interminable series of runs and arpeggios, the melodic material does coalesce near the end with a striking nine-note descending figure from the brass, impeccably executed by the orchestra’s trumpets and trombones.

Schumann’s second symphony, which occupied the latter part of the program, is a standard of the repertoire, and with good reason. Every movement has striking melodies and motifs, and they flow together with consummate grace. The orchestra played superbly, but special praise must be given to the string section, which negotiated Schumann’s roller-coaster runs with accuracy, unanimity and feeling. Nary a wrong note was to be heard.

In the first movement, Schumann uses a dizzying array of short motifs to build a central theme. Ferrandis brought out the abundant phrases and syncopations, nowhere more so than in an extended passage for strings and clarinet. The violins shone in the second movement, a playful Scherzo that requires nearly perpetual motion, capped off by a bracing sprint to the finish.

The players caught their breath in the subsequent Adagio, a subdued and calming interlude that invites rhythmic flexibility and heartfelt playing, which were everywhere in evidence. Most notable was the beautiful Bach-tinged fugue in the middle.

Ferrandis set a brisk tempo for the Allegro molto finale, resorting sometimes to compact angular motions instead of a more relaxed fluidity. However the beat was conveyed, the musicians kept up the pace while deftly handling repeated sforzandos and orchestral swells. Each idea led seamlessly into the next and propelled toward a triumphant ending — triumphant not only for Schumann, but also for Ferrandis and the Santa Rosa Symphony, which delivered an outstanding performance.

[Reprinted by permission of San Francisco Classical Voice.]