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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
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Symphony
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’ monu...
Symphony
FUNG TRIUMPHS IN SHOSTAKOVICH CONCERTO WITH VSO
by Elizabeth Warnimont
Sunday, January 29, 2017
The Vallejo Symphony Orchestra presented their season’s second concert Jan. 29 in Vallejo’s Hogan Auditorium, devoted to early Haydn, middle Shostakovich and Beethoven’s ground-breaking “Eroica” Symphony. In remarks to the audiences of nearly 400, Conductor Marc Taddei characterized Haydn’s Sympho...
Symphony
SUBLIME MOZART CLARINET CONCERTO TOPS SO CO PHIL CONCERT
by Terry McNeill
Saturday, January 28, 2017
Sonoma County Philharmonic’s long history of featuring soloists from the neighborhood struck gold again Jan. 28 with a ravishing Mozart Clarinet Concerto performance with soloist Roy Zajac. Before an audience of 300 the Santa Rosa High School hall the A Major Concerto (K. 626) unfolded gracefully w...
Symphony
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 performa...
Symphony
HEAR THE TOLLING OF THE BELLS--IRON BELLS!
by Steve Osborn
Sunday, December 04, 2016
Thanks to the generosity of Don Green (as in Green Music Center), the Santa Rosa Symphony has for many years performed an annual choral program, usually during the holiday season. In keeping with this tradition, the orchestra and the SSU Symphonic Chorus featured Rachmaninoff’s choral symphony “The ...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, April 08, 2017
Norman Gamboa, conductor. Leyla Kabuli, piano

Pianist Leyla Kabuli April 8 in Santa Rosa

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,“Titan”) April 8 was the intrepid Sonoma County Philharmonic, playing before an audience of 300 in the Santa Rosa High School Hall. Conductor Norman Gamboa took moderate tempos throughout, aiming for sonic balance in the score that runs well over 50 minutes. In a departure from local symphonic custom Mr. Gamboa directed from memory, and clearly the Mahler is a special piece for him.

In the long five-movement work a key conductor’s task is to balance instrumental sections, especially to limit brass domination of the strings, and Mr. Gamboa here was mostly successful. He caught the jolly swing from the opening bucolic pianississimo to gentle melodies in the horns (Ruth Wilson, Eric Anderson).

Tom Hyde’s trumpet solo set off the first theme of the Blumine movement, with lovely playing from harpist Randall Pratt and oboist Chris Krive, the latter playing a long Wagner-like melancholy theme. The ending in the high strings was shimmering and convincing.

Through the third and fourth (march) movements Mahler’s demands for seamless horn and wind choir playing were difficult to sustain, as the combination of instrumental stamina and high volume took a toll. That said, handsome playing was abundant in large numbers: four flutes and piccolo (Emily Reynolds, Debra Scheuerman, Mary Kemnec, Valerie White); bassoon and contrabassoon (Miranda Kincaid, Steven Peterson). The finale featured the visual treat of eight horn players standing in a row in front of the percussion section and blowing an inspired lyric melody that harkens to the D Major that was last heard long ago during the first movement. Assaulting violence in sound alternated with the composer’s splashy thematic richness. It was a harbinger of what was to some in the next 20 years and eight additional symphonies.

A signature part of this symphony is the contrabass solo (played by Karen Zimmerman) and perky piccolo duet in the march, and the conductor shaped it as a slow march. But there was nothing funereal about the sound, and Mr. Gamboa’s canny control of the many delicate changes of rhythm kept the music’s pulse steady.

One piece comprised the concert’s first half, Rachmaninoff’s C Minor Concerto (Op. 18) with pianist Leyla Kabuli. Ms. Kabuli’s playing had many fresh effects including uniquely breaking several of the opening left-hand chords and soberly artful phrasing. The ensemble was marred by the orchestra sounding too loud.

Clarity returned in the famous adagio sostenuto that featured flute and horn solos. Ms. Kabula mastered the tsunami of notes to the degree that lyric beauty of phrase was the focus in this super romantic score. Rachmaninoff’s four Concertos, Rhapsody and two Sonatas all are crammed with notes for the pianist, and though it’s easy to omit some in the thick sonic mix, the resulting aural fabric is adversely changed. Mr. Gamboa and Ms. Kabula solved this concern by adopting judicious tempos and watchful deference to the other’s musical part.

Oboe (Mr. Krive) and clarinet paying (Nick Xenelis) were first cabin throughout the work, and Robby Morales performed a sumptuous viola solo in the concluding allegro scherzando. The Hall's resident piano, sub par in past seasons in a Falla work and Mozart’s K. 488 Concerto, here sounded well, with surprisingly not brilliant hammer voicing and an improvement from the formerly dull bass string sound.

Ms. Kabula’s hard work in the finale was compromised by an overly resonant orchestra, and her playing in the speedy coda was buried. She could be seen but not heard.

Perhaps the pianist wanted to have a strong final say, and returned amidst an ovation to play a long encore - Liszt’s 12th Etude d’execution transcendante, Chasse-neige (Snow Plow). It was a wonderful performance with accurate contrary-motion chord skips and rapid tremolo. There wasn’t a hint of slackening endurance and the audience loved it.