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Symphony
ANDREW GRAMS FINDS HIS GROOVE WITH SR SYMPHONY IN RACHMANINOFF
by Steve Osborn
Sunday, December 03, 2017
Last Sunday’s Santa Rosa Symphony concert featured two elegant and refined guests: music director candidate Andrew Grams and pianist Stewart Goodyear. Both displayed dazzling technique and consummate artistry, but Goodyear was the more consistent of the two. Some of Grams’ inconsistency may have st...
Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
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...
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 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.