Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, February 10, 2018
Michael Christie, conductor. Anna Fedorova, piano

Conductor Michael Christie

A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY

by Steve Osborn
Saturday, February 10, 2018

In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for the Santa Rosa Symphony--led on Saturday night at the Green Music Center.

The opening work, Leonard Bernstein’s suite from “On the Waterfront,” is truly American, and the closing, Dvorak’s “New World” symphony, is arguably so. But the centerpiece, Prokofiev’s third piano concerto, stakes its claim to Americana by having been first performed in Chicago, even though it was composed in France. That seems a little thin until you realize that the final movement is infused with a yearning melody that sounds for all the world like an American parlor song.

Christie, himself an all-American from Buffalo, is an elegant conductor with balletic arm movements and a firm grasp of rhythm. He is at once restrained and expressive, an expert at using his undulating arms to lead the orchestra in thunderous crescendos and whispering diminuendos. His tempi are unflagging, and he always seems relaxed, even serene. His style was uniformly consistent, from the plangent opening of “On the Waterfront” to the glittering finale of the New World symphony.

“On the Waterfront” opened with a heartfelt French horn solo from Alex Camphouse, followed by a saxophone riff and then the full sound of the orchestra urged on by Christie. He altered moods and dynamics with ease, his supple arms changing course in midstream as if unaware of the laws of thermodynamics. At times his motions were so languid that he seemed to be moving through viscous air.

The orchestra played quite well, and their solos were superb, especially the off-stage reprise of the opening passage for French horn. In the movie, Marlon Brando famously claimed that he could have been a contender; but with Christie there was never any doubt.

After vigorous applause, the attention shifted to piano soloist Anna Fedorova, who glided onstage in a gossamer turquoise gown with a glittering multi-colored top. Flinging back her lengthy brown hair, she plunged down to the keyboard--and was instantly drowned out by the orchestra. Despite the balance problems, which were finally solved in the third movement, Fedorova displayed impressive command of her instrument, wriggling through Prokofiev’s demanding score with nary a scratch. The memorable opening theme, taken at a sprint, was both fiery and compelling.

Fedora is not a particularly demonstrative performer. She spent most of her time staring intently at the keyboard, her head often obscured by her hair. This introverted style worked well in the tricky passages, but it proved a barrier in the slower parts, particularly the second movement. Notes that should have rung out felt muted, and excessive pedaling muddied the sound. Fortunately, both imbalance and introversion fell away in the Allegro con fuoco final movement. Christie toned down the orchestral volume and Fedorova emerged from her shell. She took it easy on the pedal and became much more expressive, with spellbinding trills and varied attacks. Changing abruptly to play the melancholic parlor tune at the heart of the movement, Fedorova kept driving forward to the furious ending, prompting a standing ovation.

Christie offered an alternative to the usual intermission by interviewing Fedorova onstage after the performance. They engaged in the usual musical pleasantries, but a question from the audience prompted the revelation that they had met for the first time on Thursday and had only practiced the concerto for a few hours, sandwiched around a recital by Fedorova on Friday night. Perhaps they could have fixed the balance problems if they had more time.

The New World symphony is performed so often that previous performances are still ringing in your ears each time you hear it anew. This remembrance can be a danger for conductors seeking to put their own stamp on Dvorak’s venerable masterpiece, but Christie seemed undaunted by the risk.

Christie’s fluidity on the podium dominated the performance. His motions were precise and elegant, and the sound he elicited was solid and unified, most notably among the strings. Their bows moved uniformly as they ranged from silken tones to crisp arpeggios.

The unanimity of sound was nowhere more evident than in the unhurried second movement, which opened with a gorgeous English horn solo from Jesse Barrett. The subsequent playing was hushed and ethereal as the glorious melody flowed throughout the orchestra. The pace from Christie was slow, but the ensemble held steady all the way through a tremendous swell near the end.

Oddly, the English horn sat silent for the rest of the symphony, the only static element in a bursting onrush of sound. The third movement was sprightly, and the rapid fourth was driven by strong and heraldic brass. Christie was fun to watch as he summoned crescendo after crescendo in a whirlwind of orchestral interplay. The ovation at the end was heartfelt and sustained.

Christie is definitely a contender for the Santa Rosa podium, but then so are the four other candidates. The Symphony will announce its decision in March.

[Reprinted with permision from San Francisco Classical Voice]