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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...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, November 19, 2016
Norman Gamboa, conductor. John Kelley, baritone; Bonnie Brooks, mezzo-soprano; Mark Kratz, tenor; Ivalah Allen, soprano

Sopano Ivalah Allen

SENSUAL OPERATIC BON BONS AT SO CO PHIL CONCERT

by Alan Bloom
Saturday, November 19, 2016

Music Director Norman Gamboa never fails to come up with interesting programs for his Sonoma County Philharmonic concerts. It was all opera music for the second concert set of the 2016-2017 season Nov. 19 in the Santa Rosa High School Auditorium. From the romantic opening swells of the Berlioz’ Overture to Benvenuto Cellini, the well-rehearsed volunteer musicians gave a thrilling evening of theatrical entertainment. The tempo in the Berlioz was slower than usual, but had the benefit of increased instrumental transparency.

The powerful voice of soprano Ivalah Allen gave me goose bumps from the opening bars of Puccini's timeless aria "O mio babbino caro" from the opera Gianni Schicchi, and in just 32 bars of music the piece packs an emotional wallop from the first note. Ms. Allen captured the stage.

Probably the most famous aria from the 1877 opera Samson and Dalila by Saint-Saëns is Dalila's aria "Mon coeur s'ouvre à ta voix" (My heart opens itself to your voice) in which she tries to seduce Samson into revealing the secret of his strength. This achingly beautiful melody was well served by the rich voice of mezzo-soprano Bonnie Brooks.

The two women then took the stage together to perform "Sous le dôme épais", the flower duet from Delibes’ opera Lakmé. I'm not sure why this aria is not performed more often; it has been used frequently in ads and films over the years and is a lovely piece. Their interpretation demonstrated once again how music can sound so much more compelling in a live concert than on a recording.

After the intermission, the concert continued with another overture, this one for Wagner’s The Flying Dutchman. A rare error, a mis-timed entrance by one of the musicians did not detract from Wagner's stirring recapitulation of the story of the sea captain cursed to sail the seas for eternity to be saved only by the faithful woman Senta. Mr. Gamboa supplied deft control to this surging music from 1843.

Due to illness tenor Mark Kratz was not able to perform one of the concert’s works,"La Fleur que tu m'avais jetée" from Bizet’s Carmen, which made an already rather short concert even shorter. However he was able to sing well collaborating with baritone John Kelley in the famous "Au fond du temple saint" from same composer’s opera Pearl Fishers. They combined acting with the singing as they embraced while singing the final lines, "Yes, let us share the same fate, let us be united until death!"

That was even more true with Mr. Kelley's performance of "Largo al factotum," the "Figaro" song from Rossini's wonderful The Barber of Seville. It's a difficult piece to sing because of the rapid-fire triplets and tongue-twisting Italian words, but he pulled it off with aplomb and an extroverted stage presence perfect for this comic aria.

The concert finale featured all four singers performing arguably opera’s most famous vocal quartet, "Bella figlia dell'amore," from Verdi’s Rigoletto (1851). The quartet sang perfectly together, each with facial and body gestures expressing their own emotions, yet with melting harmony. As is becoming traditional at Sonoma County Philharmonic concerts, they took their ensemble bows to a standing ovation.