Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
CHORAL AND VOCAL REVIEW
Mastercard Performance Series / Sunday, November 27, 2016
Vienna Boys Choir

Vienna Boys Choir in Weill Hall

EARLY CHRISTMAS SEASON TRIUMPH FOR 24 ANGELS IN WEILL

by Sonia Morse Tubridy
Sunday, November 27, 2016

Weill Hall Nov. 27 was packed with an audience of young and old excitedly waiting for an early holiday concert by the Vienna Boys Choir, and this esteemed Choir is a five-hundred year institution which is based in a school of 100 choristers. Four touring groups divide their time between studying and world tours, and their ages are between nine and fourteen. Alumni include Joseph and Michael Haydn and Schubert.

The Sonoma County weather had turned cold but the twenty four youngsters emerged singing a Gregorian chant "to you I have lifted my soul” (Psalm 24) and warmed many hearts and captivated audience ears for upwards of two hours. Led by their remarkable conductor and pianist, Jimmy Chiang, they started with early repertoire in the first hour, gradually moving through the centuries as the concert unfolded. Mr. Chiang took some moments to greet the audience with great charm, and acknowledged that this Christmas program was somewhat early in the season. However, these boys in their sailor suits had traveled far and effortlessly moved the audience into a festive mood.

After the opening unison singing, a Sanctus by Jacobus de Kerle (1531-1591), provided a showcase for a cappella singing that filled the hall and was intriguing with complex dissonant voice leading. There was excellent variety of dynamics and tempo. Fux’s Salve Regina added Mr. Chiang as pianist, and he conducted from the piano which was positioned center stage with singers on either side. Joseph Haydn's "Mad and Useless Worries" was dramatic and vibrant with beautifully shaped vocal phrases.  Michael Haydn's "Anima nostra" has a text about our souls being set free like a bird from a net. Here the setting used a solo soprano juxtaposed with the full choir and then duo soloists alternating as well. Each song had the singers grouped in different configurations, often highlighting the contrasts between young boy soprano fragility and full rich treble harmonies.

A Mozart selection from a Cantata (K. 619) began with a recitative sung with pure child's voice and the special natural innocence often lost in the glories of trained professional adults. The Mozart was well performed with attention to rhythmical clarity and phrasing. The text is a marvel of profound thoughts on life, mankind and the world and wisdom sung by the young: "Love order and symmetry and harmony. Love yourselves and your brothers!" Mr. Chiang's accompaniments were were always balanced and delightfully nuanced, the playing of a consummate musician.

A special selection was next, a modern a cappella piece: Mercy-Forgiveness-Inner peace -Agnus Dei (1965), by Gerald Wirth, artistic director and president of the Vienna Boys Choir. A simple rising motive at the start led to a soaring descant over a drone, a staccato "miserere" and attractive jazzy syncopated figures. This was sung with commitment and fervor, and was a fine introduction to Mr. Wirth as a composer.

A second surprise was Lerner and Loewe's "On the Street Where You Live" from the Broadway show “My Fair Lady.” The thematic connection to Vienna was the fact the Loewe's family was from Vienna. The piano accompaniment was lively and the singers were relaxed and sang with enthusiasm. Further selections featured waltz and polka-inspired songs by Viennese composers Josef Strauss and Joseph Lanner. The choir sparkled and the music danced, describing in humorous texts the joys of traveling and a zoo coming to life in the night. Here, before intermission, the audience on their feet applauding vigorously.

After the break, standard Christmas carols, some arranged by Mr. Wirth, were performed with expert and polished singing and occasional choreography. A cappella versions of Adeste Fidelis and “Lo How a Rose” presented subtle dynamics with moments of wonderful quiet beauty. O Heiland, arranged by Mr. Wirth, was effective with its unison ending and Kletke's “Am Weinachtsbaum” contained a humming bagpipe effect as accompaniment, varying the verse textures. Two ecstatic pieces, a solo Schubert Ave Maria and Pueri Concinete by Ritter von Herbeck, soared through the hall and represented the Romantic tradition, followed by a touching arrangement of a Tyrolean lullaby, "It will be dark soon". 

The 20th century was ushered in with four movements of Britten's Ceremony of Carols, gracefully and expertly accompanied on the piano instead of harp.  Originally composed for treble voices, the tempo was often extremely brisk, providing intense energy interspersed with the sweet upper voice slower sections.

Wild clapping and shouts of appreciation brought three encores after a final and jazzy “Rudolf the Red Nosed Reindeer.” A sweet “Silent Night” calmed the tumult. Then the choir sang “Goodbye, Aufwiedersehen” from the Broadway show “The Sound of Music,” with various groups waving and moving away. The last encore was a lively “Feliz Navidad” with the audience joining the boys' clapping.

These twenty four angels of song from Vienna presented an elegant and touching musical journey and brightened the early holiday season.

Nicki Bell contributed to this review.