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Symphony
LECCE-CHONG PROVES HIS METTLE WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, October 07, 2018
Francesco Lecce-Chong was handed two warhorses for his debut as conductor of the Santa Rosa Symphony, and he rode them both to thrilling victory. For the first win, Brahms’ violin concerto, he owed much to soloist Arnaud Sussman, but for the other triumph, Beethoven’s fifth symphony, he and his musi...
Chamber
THORNY BARTOK AND ELEGANT MENDELSSOHN FOR THE BRENTANO
by Sonia Morse Tubridy
Sunday, September 30, 2018
In a minor masterpiece of programming choices the Brentano String Quartet played a Sept. 30 Weill Hall program with an emphasis on refinement, even with a challenging Bartok work in the mix. Dvorák’s Miniatures for Two Violins and Viola (Op. 75a) opened the concert with charm and gentle loveliness,...
Chamber
ECHO'S RICH MUSICAL TAPESTRY IN MARIN
by Abby Wasserman
Sunday, September 30, 2018
Marin’s Echo Chamber Orchestra unfurled a glorious tapestry of Mozart, Weber and Respighi music Sept. 30 in San Anselmo’s First Presbyterian Church. The church, located on the grounds of San Francisco Theological Seminary, boasts a ceiling high enough for angels to fly, and its quiet setting and aco...
Recital
IDIOMATIC SCHUMANN AND BEETHOVEN HIGHTLIGHT WALKER'S CONCERTS GRAND RECITAL
by Terry McNeill
Sunday, September 23, 2018
Mostly known as a concert producer and indefatigable promoter of Sonoma County music, pianist Judy Walker stepped into the soloist’s role Sept. 23 in a sold out recital for the Concerts Grand House recitals series. Two Scarlatti Sonatas, in D Minor (K. 213) and D Major (K. 29), began the hour-long ...
Symphony
SAKAKEENY'S LION AND ROSE HIGHLIGHTS SO CO PHIL'S 20TH SEASON OPENER
by Terry McNeill
Saturday, September 22, 2018
Fresh from a triumphant tour in Latin America the Sonoma County Philharmonic opened its 20th season Sept. 22 in a celebratory concert in the Santa Rosa High School Auditorium. Keeping to the evening’s orchestra history and past performance, conductor emeritus Gabriel Sakakeeny, who led the So Co Ph...
Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
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. ...
CHORAL AND VOCAL REVIEW
Mastercard Performance Series / Sunday, December 18, 2016
American Bach Soloists and the American Bach Choir, Jeffrey Thomas, conductor. Helene Brunet, soprano; Emily Marsh, contralto; Derek Chester, tenor; Mischa Bouvier, baritone

The Messiah's "Amen" Chorus Dec. 18 in Weill (C. Greene Photo)

A MAJESTIC ABS MESSIAH ORATORIO RESOUNDS IN WEILL DEC. 18

by Joanna Bramel Young
Sunday, December 18, 2016

San Francisco’s American Bach Soloists (ABS) presented Handel’s incomparable oratorio Messiah, HWV 56, to a sold out Weill Hall Dec. 18. It was a celebratory afternoon.

In the fashion ABS audiences have learned to expect, conductor Jeffrey Thomas brought out the best of orchestra, chorus and soloists with his eminently tasteful and impeccably nuanced direction.

Prior to the opening measures early arrivals were reading Mr. Thomas’ informative program notes, which stated that Handel was involved with London’s Foundling Hospital (which cared for and educated poor and abandoned children), and for which the English-language Oratorio was created in 1741 to raise money for the Hospital. The first London performance in 1743 was received with great acclaim and critical success.

From the opening Sinfony to the final Amen Chorus, the music unfolded with majesty. In the initial recitative, “Comfort Ye My People,” tenor Derek Chester sang with compelling intensity, with a powerful crescendo at ‘The Voice of Him that Crieth in the Wilderness.” In the following aria, “Ev’ry Valley,” the coloratura ornaments were eloquently negotiated by Mr. Chester.

Unlike past performances attended by this reviewer, the four soloists were not placed in front of the orchestra, and were placed at the center of the stage, behind the instrumentalists.
With the placement their voices blended well with the orchestra, and everything (chorus, orchestra, soloists) could be heard with great clarity.

The early mood was altered when the Chorus sang “And the Glory of the Lord Shall be Revealed” with a lilting and dancing 6/8 rhythm. The concluding note was beautifully full and precisely in tune and a few “sighs” were heard in the Hall. The 33-voice Choir was supple and balanced throughout the concert and created with breathtaking artistry a clear rendering of Handel’s text.

In another recitative baritone Mischa Bouvier’s sonorous deep voice resonated in “…and I will Shake the Heav’ns and the Earth.” The word “shake” was dramatized by ornamented passages up and down the scale, with the orchestra punctuating the words with an emphatic dotted rhythm. Mr. Bouvier’s virtuosity made the recitative sound effortless.

In the next alto aria “But Who May Abide The Day of his Coming” the ABS sometimes has a countertenor sing the role, but here contralto Emily Marvosh sang it, and the strings added drama to the words “He is like a Refiner’s Fire” with shimmering bows playing quick, strong rhythms below the voice line.

The Chorus’ performance of “For Unto Us a Child is Born” displayed awe-inspiring vocal dexterity in long coloratura passages: first the sopranos entered, then the lower voices swelling to “Wonderful, Councellor” with the orchestra at full volume. Always in discreet yet firm control, Mr. Thomas brought forth a thrilling dramatic effect in the Chorus’ “Glory to God in the Highest,” which grew into a great fortissimo fugue and finally ended pianissimo with a transfixing and luminous tone color.

One of the most brilliant arias in the work, “Rejoice Greatly,” was radiantly sung by soprano Hélène Brunet, where the jubilant orchestra played in a lilting 6/8 tempo and provided rich support for her soaring ornaments.

More of Handel’s surprises emerged during the concert’s second half, especially when Ms. Marvosh sang “He was Despised and Rejected of Men.” Here the conductor made the most of contrasts, making familiar music always sound fresh. In the words “He Gave His Back to the Smiters” the violins played strong dotted notes and Mr. Thomas chose a slow tempo for the aria, dramatizing the pain of the words. The Chorus movement “He Trusted in God” was a great fugue and the voices intertwined in intricate counterpoint. Every word could be heard in spite of the now quick tempo.

Enhancing the conclusion of the Oratorio timpani and natural trumpets were added, and trumpeter Timothy Will joined Mr. Bouvier in “The Trumpet Shall Sound,” playing flawlessly with his difficult-to-control Baroque horn. The “Amen” chorus consisted of a majestic fugue beginning with bass singers, and then adding higher voices. The united forces built to a triumphant climax, bringing the audience to their feet in a long and spirited ovation.

This performance came shortly after a Friday night ABS Messiah concert in San Francisco’s Grace Cathedral, and also followed the group’s 2014 Weill Hall debut with yet another glorious Messiah. The ABS and this noble music rarely fail to elevate the spirit.