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Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
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.