Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
JOYFUL ACCOLADES FOR BROWNS IN SRS VIDEO GALA
by Terry McNeill
Saturday, September 12, 2020
As with many area musical groups the Santa Rosa Symphony has scheduled several virtual concerts, beginning Oct. 11 in Weill Hall. In a program surprise, a pre-season Gala honoring Norma and Corrick Brown came Sept. 12 on YouTube, and proved to be an attractive if not especially riveting 70 minutes ...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 9, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 2, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 1, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
CHAMBER REVIEW
Green Music Center / Friday, November 10, 2017
Les Artes Florissants

Partial Les Artes Florissants touring troupe in 2015

RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL

by Terry McNeill
Friday, November 10, 2017

Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented.

With such specialized compositions, period performers with commanding authenticity are needed, and with Purcell’s Dido and Aeneas and Charpentier’s Actéon the Les Artes Florissants ensemble from Caen, France, were an ideal match. Before an audience of 400 the seven singers and seven instrumentalists, guided at the harpsichord by founder and director William Christie, gave spirited and authoritative readings of the two lyric operas, composed within six years of each other in the 1680s.

Colorful women’s dresses helped brighten the bare Weill stage and each of the singers moved about the stage and emphasized parts of the dramas. Actéon is a pastorale en musique with an ideal balance between dramatic singing, instrumental ensemble (two violins, viola, gamba, baroque oboe, 12-string lute and harpsichord) and stage action. The movement of the singers and their theatrical facial expressions and shouts lent excitement and sometimes histrionic charm inside the bounds of the restricted performance area.

Charpentier’s libretto is brief: Actéon and his hunting pals separate, and the later finds himself viewing the goddess Diane and her sisters bathing in a bucolic pool with flowers. He hides but is discovered, and the avenging Diane casts a spell that turns Actéon into a stag. He flees but us torn apart by the hunter’s hounds.

Singing Diane was the regal Élodie Fonnard with Reinoud Van Mechelen as Actéon. Both were able to direct their powerful voices to mesh with, at least for Diane, the women giving advice that surrounded her in the forest. Mr. Van Mechelen was particularly persuasive in the complex scene where he turns from man to animal. The unnamed choreographer (Mr. Christie?) designed simple but quite effective gestures and movements that supported the luscious baroque harmonies and repetitive French opera rhythms. There was palpable sadness from Diane’s court over a vengeful and perhaps an unnecessary hero’s death, using rich vocal colors, but it was of minimal duration. A standing ovation followed the final words.

A concert oversight was that no musicians were identified in the printed program, nor were they on the French websites. Mention needs to be made of the gamba player who toiled tirelessly all evening with Mr. Christie in continuo, and the 12-string lutenist that sat in the harpsichord’s case curve and provided non-stop sonic underpinning.

After intermission the more popular and slightly longer Purcell work was heard with the same forces. The sprightly overture was exciting, highlighted by cello and lute duos, and the oboe part could mimic the sounds of subdued brass and a modern clarinet. Odd indeed to my ears. The longer recitatives were supported by the lute and harpsichord lines. In Dido the singing continued to adroitly bring character and shape to the minimal but telling words. Carlo Vistoli (countertenor) had the requisite calculating menace as the sorceress, and the two witches (Maud Gnidzaz and Virginie Thomas) had penetrating snarls, as did the multi-character Renato Dolcini (Aeneas, peripheral participant). Familiar arias such as “Come Away Ye Sailors” and “Ho Ho Ho When Ships Sail Away” were sung with attractive abandon.

A lovely gamba solo introduced the famous Dido’s Lament (When I am Laid In Earth) that was sung with carefully shaped descending whole notes by soprano Lea Desandre, who then slowly strode stage left through the door to her opera doom. Sadness was convincingly conveyed by the upper strings and finally by the chorus, asking that roses as soft ad Dido’s heart be spread on her tomb.

A first in Weill Hall was supertitles, displayed on a forty-foot wide black screen and hung over the choral section behind the stage. The letters, unlike in many local theaters, were large and easily readable, and were faultlessly coordinated with the two mesmerizing productions, the first in impeccable French and the second in mostly recognizable English.