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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’...
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...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Symphony
MONUMENTAL NIELSEN SYMPHONY CAPS SO CO PHIL CONCERT AT SR HS
by Terry McNeill
Saturday, January 27, 2018
Turning again away from conventional repertoire, the Sonoma County Philharmonic programmed Jan. 27 three works in what were local debut performances in Santa Rosa High School’s Performing Arts Center. Nielsen’s Fourth Symphony, Op. 29, called “Inextinguishable,” closed the program with an extravaga...
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 REVIEW
Santa Rosa Symphony / Sunday, February 12, 2017
Bruno Ferrandis, conductor. Alessio Bax, piano

Pianist Alessio Box

WHAT SOUND DO STAR-CROSSED LOVERS MAKE?

by Steve Osborn
Sunday, February 12, 2017

Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monumental B-Flat Second Piano Concerto, Op. 83, with soloist Alessio Bax.

Mr. Bax is a no-frills pianist who sits ramrod straight with his head bent over the keyboard. No skyward gazes or expressive swaying for him: just the keys and the pedals. Given his diminutive frame, he doesn’t seem like he could generate much volume with his restrained approach--but appearances are deceiving. After a lengthy warm-up, he displayed as much thunder and amplitude as the best of them, along with an exceedingly soft touch.

It often takes soloists and orchestras a few measures to warm up to each other before they start playing music instead of notes. In this case, the warm-up extended for two movements. Bax, conductor Bruno Ferrandis and the orchestra didn’t really connect until the gorgeous Andante of the third movement.

Part of the problem was Mr. Bax’s insistent use of the damper pedal, which blends notes together into a smooth veneer instead of bringing out their contrasts. The result was too much legato and not enough staccato or resonance. Bax’s technique was flawless, and he played all the notes, but he seemed distant from the other musicians on the stage.

That all changed in the Andante, one of the most heartfelt in the repertoire. Principal cellist Adelle-Akiko Kearns opened with a beautifully sustained solo that traversed the orchestra and ended up with Mr. Bax, who entered with a touch so light and responsive that his fingers barely glanced the keys. The ring finally fit the finger, and the ensuing interplay with the orchestra was as restful and becalmed as a warm embrace. Goose bumps were the order of the day. The unusual fourth movement was just as good, leading to a well-deserved standing ovation.

Berlioz and Prokofiev offered a different take on musical romance, the first too short and the second too long. Before the Brahms concerto, the orchestra played only the introduction to Berlioz’s rarely heard “Romeo and Juliet,” a self-described “dramatic symphony” about the ill-fated couple. In contrast, the second half featured not one but two suites from Prokofiev’s ballet of the same name--14 pieces in all. The second suite is by far the more dramatic and would have made an ideal mate for more selections from the Berlioz.

As it was, the Berlioz score from 1839 simply whetted the appetite for more. The furious string work mimicking the feuding Montagues and Capulets gave way to authoritative playing from the horns and trombones to herald the arrival of the duke. The sound reverberated throughout the hall, followed by a pianissimo exit from the strings. The story was over before it began.

Not so with the Prokofiev suites, which carry Romeo and Juliet all the way from their first meeting to their untimely demise in the tomb. The first suite consists mostly of incidental dances from the ballet, but the second clearly reflects the story. You can almost close your eyes and see the dancers before you.

Of particular note was the Montagues and Capulets scene at the beginning of the second suite, which covers the same dramatic ground as the Berlioz. The orchestra’s sound was impressive at all levels, each section holding its own in a battle of fortissimos. On the flip side, the subsequent “Young Juliet” was hauntingly beautiful, with exceptional playing from the cello and saxophone.

The rest of the suite was equally superb. Mr. Ferrandis kept a steady rhythm throughout and ratcheted up the intensity as the tragic conclusion loomed ever closer. It was a bravura performance, culminating in a searing rendition of the final scene at Romeo and Juliet’s grave. Happy Valentine’s Day.