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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
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.