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Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
CHORAL AND VOCAL REVIEW
Mastercard Performance Series / Sunday, December 10, 2017
Philmaronia Baroque Orchestra. Nicholas McGegan, conductor. Yulia Van Doren, soprano; Diana Moore, alto; James Reese, tenor; Philip Cutlip, baritone

Philharmonia Baroque Orchestra

A SEASONAL MESSIAH WITH BALANCE AND HEFT

by Terry McNeill
Sunday, December 10, 2017

The mid-December concert season seems for jaded reviewers to invariably include a Messiah performance, and perhaps a Messiah in a long string of similar and mundane performances. This was decidedly not the case when San Francisco’s Philharmonia Baroque mounted Handel’s eminent three-part 1742 Oratorio Dec. 10.

Before a Weill Hall audience of 1,000 conductor Nicholas McGegan fashioned an historically accurate and balanced Messiah reading that gave equal weight to the 24-personal chorus, the 31-person orchestra and four sterling soloists: soprano Yulia Van Doren, alto Diana Morre, tenor James Reese and baritone Philip Cutlip.

Part one developed over 51 minutes into a lovely panoply of complimentary sections, beginning with Mr. Reese’s lyrical tenor and six chorus only sections. Highlights of the latter were “For Us a Child is Born,” the “He Shall Feed His Flock Like a Shepherd” duet of Ms. Morre and Ms. Van Doren, and the rich non-vibrato violins. Hanneke van Proosdij played throughout a small electric organ, similar to the one used by the American Bach Soloists, and as a continuo it reinforced the cello and bass (stage left) musical lines.

In fast virtuoso runs Ms. Van Doren sung with clear diction and agility, seemingly enticing Mr. McGegan three times to turn towards her from the podium with an admiring smile. Ms. Morre’s sonority was rich in the low register, and Mr. Cutlip showed a vocal “shake” and an expressive melisma in the section “For Behold, Darkness Shall Cover the Earth.”

After a half hour intermission Part two was much of a lament with the conductor controlling crisp attacks and releases. The music never seemed too fast and Mr. McGegan adroitly made subtle tempo changes throughout the Part. The two Baroque oboes and two bassoons could seldom be heard in the sonic texture, but if omitted something of richness would be lost. Part two is even longer than Part one, and following the concluding Hallelujah Chorus a number of the audience were seen leaving the Hall. In this Chorus the custom of audience standing (as King George II is said to have stood) was observed, but modern scholarship has pointed to the monarch not rising to the music, and possibly he never attended a Messiah performance. Two Baroque trumpeters and a timpanist added their pungent sound to the mix, and this carried over to the concluding Part three.

In the finale Ms. Van Doren’s great aria “I Know That My Redeemer Liveth” had clarion power, and in an odd way reminded me of Purcell’s “Dido’s Lament” sung in Weill a month earlier by Les Artes Florissants, but needing of course greater projection and vocal heft. Kathryn Adduci’s trumpet playing added wonderfully to Mr. Cutlip’s extended and triumphal aria “Behold, I Tell You a Mystery.” Here deceptive cadenzas led to many repeats and a duo of cellist Paul Hale and Mr. Van Proosdij. Equally captivating was Mr. Reese and Ms. Van Doren singing “O Death, Where Is They Sting?”

Mozart must have known the last part of the Messiah, as the great fugue in the fourth movement of his “Jupiter” Symphony reflects the power and ferocity of the last ten minutes of Handel’s soprano aria (“If God Be For Us”) and two choruses. The driving rhythms were expertly managed by Mr. McGegan, bringing a brilliant end to a work that belongs to each holiday season and to the ages.

A standing ovation produced three curtain calls and individual recognition by the conductor of the concertmaster Carla Moore (and ultimately her section) and the trumpets.