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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...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, March 17, 2018
Norman Gamboa, conductor. Ivalah Allen soprano; Mark Kratz, tenor; Igor Vieira, baritone

Sonoma Co Philharmonic and Singers March 17 Following Carmina Burana (JCM Photo)

ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT

by Terry McNeill
Saturday, March 17, 2018

Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply.

An opposite scene occurred at the March 17/18 concert set where the stage was crammed with the full orchestra and two choirs, the Santa Rosa Symphonic Chorus and the California Redwood Chorale (Robert Hazelrigg, director). It looked like nearly 60 singers filled the risers. The auditorium was packed with regular So Co Phil concert attendees and groups of family members, and Carl Orff’s theatrical Carmina Burana cantata from 1937 was surely the draw for the increased numbers.

It’s a complex work that has the most sections and sub sections in a performance that lasted just over an hour. With all these forces in the mix, including three vocal soloists and the Santa Rosa Children’s Choral Academy (all seated in the first row, and directed by Carol Menke from the sixth row) conductor Norman Gamboa had his hands full. In a work of these proportions a conductor usually has “the score in his head, or his head in the score,” and Mr. Gamboa deftly paid little attention to the sheet music in front of him. He clearly has given the knotty music long and dedicated scrutiny.

Sung mostly in Latin with some middle high German, old French and some Provençal, the 25 main sections unfolded with sonic power and a bevy of fine instrumental playing: long held notes from the three trombones and three trumpets: clarinet and flute solos (Nick Xenelis and Debra Scheuerman/Emily Reynolds); and an exceptional variety of percussion effects, some opposite at stage left/stage right. Dramatic sounds came from the small xylophone, three electric pianos, chimes, bells, castanets, gourds and cymbals. Certainly more were in the percussion blend that I missed.

The composer splashed many musical references about, from oddly the Flower Duet from Delibes’ “Lakmé” to late Renaissance composers (Josquin, Monteverdi), and with some neo-Baroque rhythms from composers in the 1920s. It’s a powerful stew, the sections frequently exploding without a break.

Three soloists seemed an adjunct to Carmina’s instrumental frenzy, with baritone Igor Vierira and soprano Ivalah Allen having the most extended singing, and tenor Mark Kratz was limited to one aria sung in raw falsetto. None of the arias were congenial for the respective voices, especially for Miss Allen at the top of her range in melisma over flutes and piccolo. However, she could spin a beguiling song, as in the lovely dulcissime (Sweetest boy) section, and Mr. Vieira had snazzy hand and face movements in the “All things are tempered by the sun” movement.

An extravaganza of vivid sound, Carmina ended with fortissimo punch and Erik Ohlson’s blows on the Philharmonic’s biggest bass drum. Instant audience cheers followed, and Mr. Gamboa seemed elated at his ensemble’s accomplishment, and motioned for several instrumental soloists to stand.

Hindemith is not a composer heard much in the North Bay, but the Symphonic Metamorphosis (on themes from Weber) is arguably his most popular composition for orchestra. The four-movement work from 1943 was played wonderfully, and in no way was it a modest lead in to the demands of Carmina.

The music at turns is sassy and is full of surprising accents, particularly in the fugue. Uncovering familiar Weber themes was out of reach, given the masterly orchestra details, many slight accelerandos in the scherzo, frequent dissonant chords that jarred the ear, and as usual persuasive wind solos from Ms. Scheuerman, Mr. Xenelis and bassoonist Steven Peterson. The final marsch with timpani and chimes closed a brilliant interpretation.

With such large forces at this concert praise was needed to anoint many, but the evening’s true hero was Mr. Gamboa. Thinking of just the manifold number of attacks and cutoffs that he managed so conclusively, it was an artful demonstration of control of intricate orchestral architecture and sonic texture.

This set was the final one for the Philharmonic’s 2017-2018 season, but one more “gift” to their loyal public comes in the same Hall June 15. The Orchestra, again under Mr. Gamboa’s direction, will showcase the works they are performing on the musical tour of Costa Rica, set to be June 17-25. It will be their second international tour, as Gabriel Sakakeeny (now Conductor Emeritus) led an arduous but wildly successful China tour in 2010.