Home  Reviews  Articles  Calendar  Presenters  Add Event     
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, January 07, 2017
Bruno Ferrandis, conductor. Marie-Pierre Langlamet, harp

Harpist Marie-Pierre Langlamet

SYMPHONIC SPLENDOR AND HARP VIRTUOSITY AT SRS CONCERT

by Terry McNeill
Saturday, January 07, 2017

A rainy winter Weill Hall audience of 800 heard the Santa Rosa Symphony Jan. 7 in an eclectic program of four composers including a provocative harp concerto. The music was preceded by manifold stage announcements and somber recognition of SRS musicians that had recently died.

A rollicking performance of Rossini’s ‘Thieving Magpie” overture was a splendid opener, played at a quick tempo and spotlighting snare drum and dramatic percussion effects. All evening an eight-musician percussion section and superb wind playing were showcased by conductor Bruno Ferrandis, and the jaunty overture from 1819 had the requisite flash and verve. I am always struck with how starkly different Rossini’s music was in 1819, when juxtaposed with the prevailing Germanic style of Beethoven, Schubert and Weber

French harpist Marie-Pierre Langlament was the soloist in the Ginastera Concerto, Op. 25, and the instrument brought on stage (hers?) was subtly amplified. The piece is awash in swirling sonic effects, handled with aplomb by Ms. Langlament who must have known the work from youth. Most performances I have heard have had solo playing that was aggressive and often rushed, but Ms. Langlament found elegance in the demanding samba-like rhythms and rapid phrases high in the treble. Nothing was forced or out of balance.

In the lovely Molto Moderato there was fetching playing from the flute (Kathleen Reynolds), clarinet (Roy Zajac), oboe (Laura Reynolds) and bassoonist Carla Wilson, leading into an extended harp cadenza that was played with compelling virtuosity. The driving rhythms and sharp dynamic contrasts of the concluding Vivace were carefully controlled by the conductor and the sonorous excitement produced a standing ovation and two curtain calls.

Returning to the stage after intermission for Debussy’s Danses Sacrée et Profane Ms. Langlament played a different harp, and took a few moments to touch up tuning. The ten-minute bucolic piece for strings was again played with the same secure control and authority that was heard in the Concerto, but with a lush and warm tone and seamless modulations. Mr. Ferrandis is at home with the music and crafted waltzes that were aristocratic as well as sensual.

Ravel’s two big suites from Daphnis et Chloé closed the program in orchestral splendor, making full use of nine percussionists, two harps, xylophone, celesta and with a husky wind machine at the back of the stage. The Suites from the 1912 ballet are often presented with an off-stage choir singing haunting wordless expressions, but Mr. Ferrandis omitted this and the luxurious music had no need of the few seconds of faux artificial wind.

There was nothing affected or omitted about the playing the first Suite, though after several faulty entrances the performance settled down and the conductor skillfully managed the many tempo changes and drew a reading that was at times white hot with excitement. The “Sunrise” opening in the second Suite was luminous, even without the choir, and the Symphony’s winds were stellar. Ms. Reynolds’ beguiling long solo was reminiscent of Vaughan William’s violin solo in the “Lark Ascending,” and Mr. Ferrandis acknowledged standout playing from Stacy Pelinka and Carmen Lemoine (flute and piccolo), Meredith Brown (horn) and trumpeters Scott Macomber and Kale Cumings. The wind playing mastery reached its zenith with a brilliant flute trio playing off the clarinet, bassoon and oboe lines in the Pantomine and Danse Générale sections.

Clearly this was music in Mr. Ferrandis’ French “sweet spot” and his consummate and precision orchestral control was equaled only by his grand interpretative choices.

Robert Hayden contributed to this review.