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Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
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 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]