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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
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 “all American” program that Christie--the fifth and final conducting candidate for t...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
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 School’s Performing Arts Center. Nielsen’s Fourth Symphony, Op. 29, called “Inextinguishable,” closed the program with an extravaga...
Chamber
ECLECTIC ANDERSON & ROE TRANSCRIPTIONS CAPTIVATE WEILL HALL AUDIENCE
by Nicki Bell
Sunday, January 21, 2018
From the first moment when Greg Anderson and Elizabeth Joy Roe walked Jan. 21 on the Weill Hall stage and spoke to the audience about their two-piano program, it was clear that an afternoon of drama, humor, virtuosity, warmth, transcendence and excitement was in store. This dynamic and mesmerizing ...
Chamber
BALCOM TRIO HIGHLIGHTS DELPHI'S RAC CONCERT IN OCCIDENTAL
by Sonia Morse Tubridy
Saturday, January 20, 2018
The Redwood Arts Council audience first met the Delphi Trio (Jeffrey LaDeur, (piano), Liana Berube (violin), and cellist Michelle Kwon) in 2013, and subsequent concerts in the same Occidental hall have become crowd favorites. The January 20th program before a capacity audience seemed to have enthus...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, September 30, 2017
Norman Gamboa, conductor

Conductor Norman Gamboa

DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER

by Terry McNeill
Saturday, September 30, 2017

A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium.

Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with the uncommonly heard first Symphony of Tchaikovsky. The G Minor Major Symphony doesn’t have quite the emotional impact and tight construction of the iconic Fourth, Fifth and Sixth symphonies, but the seeds of the composer’s greatness are everywhere to be heard in the early work from 1866 and revised in 1874 – stirring themes, virtuoso demands throughout each section, and at time volcanic climaxes. It’s long at 48 minutes but this performance was worth every second.

Mr. Gamboa made a number of decisions that served this florid music well. His tempos never were rushed, and he allowed soloists in several sections to continually shine. The Orchestra’s winds have been at the heart of memorable performances for years, and here oboists Kris Krive, clarinetist Nick Xenelis, flutists Debra Scheuerman and Martha Krones, and bassoonist Miranda Kincaid were sterling all evening. In this Symphony the composer used winds for much of the thematic statements, supported by the violins, and the themes from the principal wind players were achingly extravagant.

At the big climaxes that characterize Tchaikovsky (as with Sibelius and Shostakovich) Mr. Gamboa had his hands full keeping the instrumental choirs, especially the high strings, clear and distinct from low strings. He was largely successful, especially in the adagio cantabile second movement, where the flute and oboe duets were captivating.

In the scherzo the playing was brisk and colorful, with the composer’s mastery of pizzicato (brilliantly exploited later in his Fourth Symphony) piquant. A surprise came in the long introduction to the finale where the conductor drew extended phrases and deft rhythmic control from the Orchestra, making the transition to the magisterial allegro all the more striking and convincing. Here there were jolting echoes of Sibelius’ FInlandia (composed 34 years later!). The fugue textures were clear, again the product of virtuoso wind play and Mr. Gamboa’s attention to cutoffs, the many modulations and section balance.

A raucous ovation from the audience of 250 brought the conductor back for one curtain call, but oddly no individual player recognition was chosen.

The concert began with the three Dvorak overtures – In Nature’s Realm, Othello, and Carnaval. Only the last is frequently performed, and a chance to hear Othello was an unexpected treat. It was the most Wagnerian of the three with descending phrases and mysterious harmonies that Dvorak must have absorbed at Bayreuth. The Philharmonic’s playing caught the somber and nostalgic mood of the work, although fast descending runs in the violins were often blurred. An occasional nod to Bruckner’s music is in the Othello Overture.

In the first and third overtures contrast could not be starker. The bucolic Nature’s Realm was played as an awakening of ravishing outdoor sound, lovely and never so persistent to mar a joyous mood. Though often overly loud with ragged entrances, the music had a quaint ballet character that was irresistible, and Mr. Gamboa gave lots of rhythmic leeway to achieve his conception of Dvorak’s music stemming from Czech country tunes and dances. Clarinet and oboe playing was exemplary.

In the most “Dvorak” of the overtures the familiar Carnaval was appropriately blaring and rollicking. A third flute part was added to the mix, and flourishes from the augmented percussionists (cymbals, tambourine, triangle) gave spice to the rich sound. It’s a foot-tapping piece that exploits the brass and horns, and the Philharmonic seemed to enjoy playing the racy and heated music as much the audience did hearing it.

Verbal presentations before and during the concert underscored the Philharmonic’s community volunteer and connections, and augur well for the new season that will feature demanding Lutoslawski, Nielsen and Hindemith compositions. Clearly Mr. Gamboa is setting a high bar.