SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results don’t measure to expectations. With the Sonoma County Philharmonic’s Costa Rica concert June 19, the performance exceeded any heated or tenuou...
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis
in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns.
Conductor Norman Gamboa pr...
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...
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious building that is one of Sonoma County’s loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music. Of the surprisingly large array of festivities there, one of t...
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...
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
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...
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. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed.
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago “Golden Era” of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didn’t play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuber’s work to the public’s attention, and now they seem to be on almost ever...
Composer Jennifer Higdon
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage.
Chen is diminutive but powerful, with an exacting style of conducting that commands attention. Arghamanyan likewise commands attention with truly elegant playing punctuated by dramatic flings of her long brown hair.
These two wonderful musicians collaborated on Tchaikovsky’s well-worn yet always surprising first piano concerto--but not until Chen had warmed up the orchestra with a frenetic dash through Shostakovich’s “Festival Overture.” From the heraldic opening in the brass to the triumphant final notes, the emphasis was on speed and exactitude. Chen set a quick and easy-to-follow beat that encouraged meticulous playing and tight ensemble. Her gestures were confident, and she used the entire podium to her advantage, jumping up and down excitedly in the rollicking final bars. The applause was vigorous.
Having established her street cred, Chen moved to the background for the Tchaikovsky. She kept the orchestral volume firmly under control and allowed Arghamanyan plenty of space to revel in Tchaikovsky’s echt Romanticism. The pianist’s opening chords were authoritative, and she projected easily all the way to the back of the hall. She displayed solid control of dynamics throughout the concerto, from thunderous fortissimos to delicate pianissimos that inspired rapt silence from the audience. Even more, she displayed an endless variety of keyboard attacks and releases. At times her fingers were jackhammers, at others the lightest of brushes, displaying so little movement that her hands seemed to glide above the keyboard.
All was not perfect, however. At times Arghamanyan was too heavy on the pedal, and the upper notes of her chosen piano, a Fazioli, sounded muted compared to the ringing tones of the orchestra’s usual instrument, a Steinway. She also flagged a bit toward the end of the first movement, but she sprang right back into action in the Andantino second, where she gave as much attention to the simplest of melodies as to the most dazzling runs. The finale, an Allegro con fuoco, was almost flawless.
Summoned back to the stage after sustained applause, Arghamanyan played more Tchaikovsky as an encore: the “October” movement from The Seasons. The simplicity of the piece belies its emotional intensity, which Arghamanyan kept ratcheting upward the softer she got. There was dead silence from the audience as the piece faded into nothingness.
After intermission, Chen displayed yet more street cred by conducting a contemporary work, Jennifer Higdon’s blue cathedral. Higdon’s work is quite approachable for audiences leery of the new, and the architecture of her works, in this instance ecclesiastical, is readily apparent.
In her program notes, Higdon writes that “I was pondering a lot of things about the journey we make after death … I was imagining a traveler on a journey through a glass cathedral in the sky.” This journey is made manifest in the music through a series of two-note phrases in the strings (left foot, right foot?) punctuated by outbursts from the percussion and winds. The step-wise motion proceeds inexorably until it bursts into a densely orchestrated volley from the brass, with bells tolling in the background. Tinkling and ringing instruments of many varieties gradually take over, leading to an ethereal sound world at the end.
Chen conducted all of this with great authority and an unerring beat, vividly recreating the journey down the cathedral aisle to a heavenly altar that is fundamentally different from the rest of the space. The performance was good, but the rigid program of the piece left one yearning for something unexpected.
After blue cathedral, the side lights on the stage changed from blue to red, and the stage hands removed Chen’s music stand, letting everyone know that she would be conducting the final work, Mendelssohn’s “Italian” symphony, from memory. The absence of an intervening stand gave Chen more direct access to the orchestra, and she took full advantage, often leaning so far into the various string sections that she could have touched the front stands with her baton.
The pace from the outset was brisk, leading one nearby patron to begin tapping his toes. Somehow Chen managed to keep a steady beat while devoting most of her attention to musical expression. She used a wide variety of gestures--sweeping her arms, crouching down, bending her wrists, jumping in the air--to usher forth the pungent sforzandos, hushed diminuendos and rapid accelerandos that make for great orchestral playing. She was a pleasure to watch, and apparently to play for, because everyone in the orchestra gave her full attention.
As the Mendelssohn motored forward, Chen often gave only the downbeats or no beats at all in favor of expressive gestures. She brought a sense of urgency to the opening Allegro vivace, equanimity to the subsequent Andante con moto, and sweetness to the Con moto moderato. Her best conducting came in the final movement, a Presto followed by a spirited Saltarello (a fast-paced Italian dance). This finale is an intricate mechanism that Chen kept ticking perfectly, even though the beat sometimes seemed to be measured in microseconds. From the furious sixteenth-note opening in the strings to the crashing finale, she never let up, not even once.
There are three conductor candidates yet to come for the Symphony, but Chen displayed almost everything one could want from a conductor: musicality, confidence, wonderful technique and restless enthusiasm. She will be tough to beat.
[Reprinted with permission from San Francisco Classical Voice.]