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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 seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
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...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Centerís Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflťís short and intense Requiem has been heard in Santa Rosaís Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
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 Hallís stage March 25 and didnít play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morganís artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hallís wonderful Brombaugh organ. Mr. Morgan, Stanford Universityís resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
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 Schoolís 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 REVIEW
Santa Rosa Symphony / Saturday, April 12, 2008
Bruno Ferrandis, conducting
Christopher O'Riley, piano

Christopher O'Riley

SONIC TATTOOS

by Steve Osborn
Saturday, April 12, 2008

In newspaper ads touting his appearances with the Santa Rosa Symphony, Christopher O'Riley wore a black T-shirt, the better to show off a massive henna tattoo running the length of his arm, right down to the ends of his fingers. In his April 12 concert, the tattoo was no longer in evidence, but he did manage to tattoo the symphony's resident Steinway with some of the richest sounds to emerge from that instrument in a long time.

Clad in a knee-length black coat, O'Riley got right to work on Bartok's Piano Concerto No. 3, a piece the Santa Rosa Symphony had never performed in its 80-year history. In a preconcert conversation with Music Director Bruno Ferrandis, O'Riley opined that the concerto ' Bart'k's last completed work ' evokes the sonic landscape of New York City in the 1940s, in distinct contrast to the rural folk inspirations of his other concertos.

O'Riley's playing was consistent with this interpretation. He began with emphatically disconnected notes, a collision of sounds without any apparent unity that sounded like the jarring street noises of Manhattan. Within a few measures, however, he smoothed out the edges and began playing with a seemingly effortless legato. He maintained this level of contrast throughout the concerto, altering his tone and attack in keeping with the music and the orchestra's exertions.

Cooperative Soloist

It is rare to see a soloist pay such careful attention to the conductor. O'Riley kept his eyes glued on Ferrandis and his expressive left arm during the constant rhythmic challenges of the first movement, meshing in perfect tempo and volume with the orchestra. Instead of 'piano versus orchestra,' the performance was a fused creation, an orchestriano.

The intensity of the first movement was matched by the serenity of the second. The performers not only kept the adagio pace without flagging, but they also fully invested the movement with the feeling of the second part of its tempo marking: 'religioso.' Despite barely moving his upper torso, O'Riley managed to get an enormous amount of sound out of the piano, intoning a series of resonant chords.

The allegro vivace last movement started a bit meekly but then caught fire after a muted section in the strings. O'Riley still didn't move much, but he seemed to be talking to himself, perhaps mouthing the intricate beats emanating from the podium. The run-up to the end was absolutely thrilling, with O'Riley sprinting from one end of the keyboard to the other, and Ferrandis jumping in the air. The standing ovation was immediate and sustained.

Ferrandis warmed up the audience with Jan''ek's overture to his opera From the House of the Dead, also a last work. Like the Bart'k concerto, Jan''ek's overture is suffused with rhythmic complexity. The orchestra followed Ferrandis' steady baton to a person, with nary a player out of step. Concertmaster Joseph Edelberg played the solo passages beautifully, joining his stand partner, Erin Benim, for some equally effective duets.

Acoustic Challenges

The only problem with the Jancek was the deadening acoustic of the Wells Fargo Center. Passages that should have rung out simply died somewhere between the low ceiling and the carpet. Audiences can only hope that the new Green Music Center ' still one or two years away ' will solve this nagging problem.

In the second half of the program, the familiar melodies and driving rhythms of Brahms' Symphony No. 1, Op. 68, put merely acoustic considerations aside. Ferrandis launched into the symphony with vigor, rotating his arms like pistons and fully extending his lengthy fingers. He conducted from a miniature score, which seemed to function strictly as a memory aid; he rarely consulted it, other than to turn pages.

As always, Ferrandis' podium antics were a joy to watch. He was in constant motion, using every square inch of the podium's surface, moving forward and back, side to side, and even leaning dangerously backward against the protective rail. He is a two-fisted conductor, conveying as much with the digits in his left hand as with the baton in his right. He has an angular fluidity that commands respect.

Brahms' first symphony is more than familiar, but I never grow tired of it. Of the many beautiful moments, the oboe, clarinet, and violin solos in the middle movements stood out, as did the pizzicato section at the beginning of the last. The energy in this final movement was particularly well-sustained, beginning with the pizzicato, moving through the brass-and-timpani fanfare, the melodic interplay of the woodwinds, the majestic closing theme, and then the headlong rush to the triumphant final chords. When it was over, Ferrandis had to mop his brow before turning to face the audience, which was once again on its feet.