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Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
Symphony
LECCE-CHONG PROVES HIS METTLE WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, October 07, 2018
Francesco Lecce-Chong was handed two warhorses for his debut as conductor of the Santa Rosa Symphony, and he rode them both to thrilling victory. For the first win, Brahms’ violin concerto, he owed much to soloist Arnaud Sussman, but for the other triumph, Beethoven’s fifth symphony, he and his musi...
Chamber
THORNY BARTOK AND ELEGANT MENDELSSOHN FOR THE BRENTANO
by Sonia Morse Tubridy
Sunday, September 30, 2018
In a minor masterpiece of programming choices the Brentano String Quartet played a Sept. 30 Weill Hall program with an emphasis on refinement, even with a challenging Bartok work in the mix. Dvorák’s Miniatures for Two Violins and Viola (Op. 75a) opened the concert with charm and gentle loveliness,...
Chamber
ECHO'S RICH MUSICAL TAPESTRY IN MARIN
by Abby Wasserman
Sunday, September 30, 2018
Marin’s Echo Chamber Orchestra unfurled a glorious tapestry of Mozart, Weber and Respighi music Sept. 30 in San Anselmo’s First Presbyterian Church. The church, located on the grounds of San Francisco Theological Seminary, boasts a ceiling high enough for angels to fly, and its quiet setting and aco...
Recital
IDIOMATIC SCHUMANN AND BEETHOVEN HIGHTLIGHT WALKER'S CONCERTS GRAND RECITAL
by Terry McNeill
Sunday, September 23, 2018
Mostly known as a concert producer and indefatigable promoter of Sonoma County music, pianist Judy Walker stepped into the soloist’s role Sept. 23 in a sold out recital for the Concerts Grand House recitals series. Two Scarlatti Sonatas, in D Minor (K. 213) and D Major (K. 29), began the hour-long ...
Symphony
SAKAKEENY'S LION AND ROSE HIGHLIGHTS SO CO PHIL'S 20TH SEASON OPENER
by Terry McNeill
Saturday, September 22, 2018
Fresh from a triumphant tour in Latin America the Sonoma County Philharmonic opened its 20th season Sept. 22 in a celebratory concert in the Santa Rosa High School Auditorium. Keeping to the evening’s orchestra history and past performance, conductor emeritus Gabriel Sakakeeny, who led the So Co Ph...
Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
RECITAL REVIEW
Mastercard Performance Series / Sunday, February 18, 2018
Dorothea Röschmann, soprano; Malcolm Martineau, piano

Malcolm Martineau and Dorothea Röschmann Feb. 18 in Weill Hall (J. McNeill photo)

SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL

by Terry McNeill
Sunday, February 18, 2018

Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience.

Dorothea Röschmann’s Feb. 18 recital from the same stage was sharply different, though the respective pianists (Helmut Höll and Malcolm Martineau) were uniformly excellent. The German soprano said not a word to the 250 in Weill, sang only in her native language, and with Mr. Martineau selected a program short on easy charm and long on somber and intense artistry.

Schubert wrote most of his Mignon Lieder during his final decade, and the stage was set for an afternoon of engaging but often melancholic lyricism. The four works, with an attached “Nachtstücke,” were sung with exemplary diction and palpable sadness. Only the second (“So last mich scheinen”) had much light with its simple piano part, and the third (“Nuf wer die Sehnsucht kennt”) with the soprano’s effortless drop of two octaves were out of character. The finale (“Kennst du das land?”) was sung in a faster tempo with a big final note.

“Nachstücke” (D. 672) was also somber but was sung beautifully, beginning with a delicate piano prelude and following graded arpeggios, and ending with Ms. Röschmann’s accurate attacks and handling the modulations with just the slightest use of ritards.

Mahler’s Rückert Lieder closed the first half, a group of five songs recounting bucolic suffering. Many singers begin with “Ich atmet’ einen linden Duft,” but Ms. Röschmann made it the second song, and with it the “real” Mahler was gloriously heard. So much of the music echoes the contemporary Kindertotenlieder cycle, and the singer gave each a dose of mystery and longing, with “Um Mitternacht” generating the first sonic majesty of the recital. The many descending piano lines captured the mystery of the poetry. The “Blicke mir nicht in die Lieder” was performed with references to the composer’s less heavy Fourth Symphony, and the music in the final (“Ich Bin der Welt”) was slowly performed, an anguished lament and a sad journey.

This haunting Mahler finale was carefully sung, provoking a far off vision, with the pianist able to terrace soft dynamics and Ms. Röschmann nailing a soaring high note that quietly broadened into a long pensive postlude. This was perhaps the recital’s highlight.

Schumann’s rarely performed Marian Stuarda Lieder opened the second half, and though beautifully sung it passed without the emotional heft of the previous Mahler and the Wagner to come. The harmonies were echt Schumann and the fourth and fifth songs the most convincing – “Abschied” (a complicated song, with many small soprano touches) and the declamatory operatic drama of “Gebet.”

Schumann’s short cycle was swept aside in the concert’s concluding Wesendonck Lieder, Wagner’s passionate five-part grouping composed in 1857. Ms. Röschmann’s operatic credentials immediately were on display in “Der Engel,” a stunning ray of vocal sunshine after so much mournful musical travail. The slow tempos were perfect gauged, the big climaxes never forced or shrill. This continued in “Stehe Still!” and the Tristan Prelude-themed “Im Treibhaus.” The soprano’s low notes over a piano tremolo in the latter were richly hued, and the constantly returning theme was transfixing in a haunting ensemble. Mr. Martineau never covered the singer, and his subtle accents in major-minor key changes were ever persuasive.

In response to a standing ovation one encore was offered, Liszt’s short “Es Mus Ein Wunderbares Sein” (a wonderous rapture must it be). As all through this recital, it was sung with consummate mastery, including a novel long pause before the a tempo marking (Vom ersten kuss). Praise can go no higher.

The Green Music Center producers provided extensive notes and translations, the house lights were kept up, and with the late afternoon window luminosity people could easily follow the printed poetry.