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Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís 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. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
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...
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 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...
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
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 ďall AmericanĒ 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 Schoolís Performing Arts Center. Nielsenís Fourth Symphony, Op. 29, called ďInextinguishable,Ē 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 Sundayís 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 Gramsí inconsistency may have st...
SYMPHONY REVIEW
Mendocino Music Festival / Saturday, July 22, 2017
Festival Chorus and Orchestra, Allan Pollack, conductor. Julie Kierstine, soprano;Donna Olson, also; Alex Boyer., tenor; Phil Meyer, bass

Verdi Requiem Performance July 22 in Festival Tent

SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL

by
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 rendering of Verdiís 1874 (ďManzoniĒ) Requiem to the delight of an enthusiastic audience of 800 inside the white Tent erected on the spectacular Mendocino bluff overlooking the Pacific Ocean.

The laboring oars in this monumental effort were the four featured singers who rose mightily to the occasion. Their solo and ensemble singing were the wind in the sails of Verdiís over-the-top theatrical score which made maximum use of his virtuosity as a writer of dramatic compositions. Operatics aside, the performance avoided bombast with a sensitive reading of dynamic contrast and sonic color. Amazingly, Mr. Pollack was able to keep orchestra, singers and chorus in a wonderful symbiotic balance where each could be heard, no one drowning the others out, even in the busiest sections.

The chorus was particularly well prepared for the long concert. Lyrics were clear and communicative, sections entered appropriately on cue and harmonies and dynamics always delivered to maximize dramatic effect as appropriate. One perhaps not so unusual observation was of a female member singing in one of the menís sections. The voices were clearly put where they were best used. The double chorus had taken the better part of a year to master the complex Requiem and their hard work was rewarded with a mesmerizing performance.

The orchestra itself was full of seasoned and Festival emeritus musicians and their playing was the seabed upon which the entire effort was based. Steady when necessary and full of power and sensuality as needed, the orchestra contributed spectacularly to the musical whole. From the ancient and anchoring Dies Irae to the Tuba Mirum, with its offstage trumpeting (in this case outside the tent) Mr. Pollack managed to bring out the best in all the participants. Pacing was always appropriate and each piece that composed the whole carefully thought out. Mr. Pollackís careful direction and engagement with his performers was apparent.

Julie Kierstine, soprano. Donna Olson, mezzo-soprano. Alex Boyer, tenor, and bass Phil Meyer gave soaring performances that held the audience in hushed awe, and the singing helped navigate the way through Verdiís complex score. Playing lightly off each other at times, and giving full voice to compellingly dramatic sections made the performance one to remember.

The solemnity of a Catholic Requiem Mass can be overwhelming at times and the listener is likely to become reflective and sober in subsequent thoughts. What the composer managed to accomplish is a grand salute to the passing of life, but with a tasteful celebration of life woven into the score. The net result, especially with the high caliber of performance witnessed at the Festivalís closure, provided the audience with a transcendental experience.