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Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Chamber
ADVENTUROUS BACH AND PENDERECKI IN MUTTER-ORKIS WEILL RECITAL
by Terry McNeill
Friday, March 02, 2018
German violinist Anne-Sophie Mutter returned to Weill Hall March 2 in a recital curiously different than her appearance on the same stage several years ago, and also dissimilar to a recent San Francisco concert with a heroic Respighi Sonata performance. On a rainy night before 700 fans Ms. Mutter ...
Chamber
BEETHOVEN'S MAJESTY IN TAKACS QUARTET CONCERT
by Terry McNeill
Sunday, February 25, 2018
Greatness in a single musical composition carried the day Feb. 25 when the Takács String Quartet played Beethoven in Weill Hall. Sweeping aside two first half pieces, the Takács tackled Beethoven’s penultimate Quartet, the monumental C-Sharp Minor, Op. 131, written in 1826. From the first notes (<...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Chamber
POWERHOUSE TANEYEV QUARTET IN TRIO NAVARRO CONCERT
by Sonia Tubridy
Sunday, February 18, 2018
Now in their 26th year of presenting chamber music as artists in residence at Sonoma State University, members of the Navarro Trio have performed, over the years, piano trios both famous and rarely performed, including many contemporary works. Mozart’s Piano Quartet in G Minor, K. 478 opened the Fe...
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 ...
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.