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Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
Opera
SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
Symphony
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results don’t measure to expectations. With the Sonoma County Philharmonic’s Costa Rica concert June 19, the performance exceeded any heated or tenuou...
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...
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.