Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
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...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
OPERA REVIEW
Mendocino Music Festival / Friday, July 14, 2017
Jason Sherbundy, conductor. Ann Woodhead, stage director.
Sergio Gonzalez: Ernesto; Sara LeMesh: Norina; Bojan Knezevic: Don Pasquale; Ben Brady: Dr. Malatesta

Principal Singers July 14 at the MMF Opera

DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION

by Elly Lichenstein
Friday, July 14, 2017

Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedia hi-jinx, low-brow hilarity and slyly delicious scoring.

Resources were spare. The set consisted of strategically placed furniture and a few essential properties. The costumes may have been purchased from rummage sales and thrift stores, but then embellished lovingly to comic effect, proving that a successful evening of joyous opera doesn't need to break the bank. In fact, the lack of bells and whistles placed the onus of bringing Pasquale to life squarely on the shoulders of the directors and performers, happily to mostly delightful effect. Miraculously, even those bits and pieces of homespun costuming enhanced the comic effect to a tremendous degree. Bravi tutti There was no mention of a costumer in the printed program, so one must assume it was a group effort? Staging was necessarily simple, blurring the line between concert presentation and full-on theatrics.

The 41-piece orchestra, led with muscular intelligence and vigor by Jason Sherbundy, was placed behind the action, partially seen and therefore part and parcel of the proceedings. The acoustics were interesting. The strings, though seemingly abundant, sounded almost tinny, and were overshadowed by an exuberant brass section and percussion that sometimes fairly shook the tent. The woodwinds fared best in the space, sounding rich and supportive while not overpowering the singers or the rest of the orchestra. The ubiquitous Donizetti codas for every set piece were dominated by the brass and percussion, nearly drowning out the singers, even as they sang at their loudest and faced the audience in a tongue-in-cheek park-and-bark manner. However, with the exception of some hiccups, due I assume to lack of rehearsal time and an acoustical disconnect between conductor and singers, the orchestra played well and enhanced the proceedings as best as possible.

For whatever reason the chorus was cut. Considering the lack of playing space, this was no great loss, and stage director Ann Woodhead (who was absent in the printed program - odd!) even staged a mute mock-ballet: walk-on servants swooped and waltzed with mops and brooms and dusters and such, receiving well-deserved hoots of laughter from the audience. In fact, Ms. Woodhead was able to work miracles with her proscribed resources, coaxing lusty comic performances from all.

The four principals served their parts well in varying degrees. Sara LaMesh's kittenish Norina was possessed of a crisp coloratura, approaching her cadenzas, trills and soaring high notes with ease and precision. Her entrance as the phony bride Sofronia, dressed like a frothy pink mushroom, was a hoot. Ben Brady brought a rich and lush baritone to his rendition of the scheming Dr. Malatesta. Bojan Knezevic's Pasquale was an audience favorite, evoking peels of laughter with every mugged expression. His basso buffo suited the role well, delivering those deep lower notes with comic as well as musical aplomb. The two men were superbly adept in their Act III patter duet, spitting out their words faster than Superman’s speeding bullet while just about outpacing the supertitles. Other marvelous Donizettian musical jokes between singers and orchestra were unfortunately lost, due, I imagine, to the acoustical issues mentioned above.

But it was Sergio Gonzalez, inhabiting the most thankless role in the opera (the hapless Ernesto) that stole the stage and won the day. From his very first entrance, in the goofiest bright turquoise suit imaginable, it was clear that Mr. Gonzalez possesses the total package. His voice, though small, sparkled with graceful beauty and intelligent musicianship. His Act III serenata was a case in point. Highlighting a gorgeous falsetto and delicately shaped phrasing, his winning rendition was enhanced by a total connection between voice and body, leaving the audience in no doubt as to what he was singing about. The love duet with LaMesh that followed reached romantic heights. The audience swooned!

Those who relish their opera in intimate settings should watch for Mr. Gonzalez. His liquid voice, subtle mastery of expression and phrasing and his innate integration of singing and physicality are superbly suited to the smaller European houses, as well as those intimate opera producers who still survive here in the U.S. I hope the young man goes far.

If the Mendocino Music Festival can attend to those pesky acoustical issues and borrow a few dollars from the orchestral Peter to pay their starving production Paul, their already pleasant and entertaining opera proceedings could be elevated several notches. And please give credit to the stage director and the supers!

As they say, a good time was had by all.