Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
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...
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...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
SYMPHONY REVIEW
Green Music Center / Sunday, March 25, 2018
Charles Richard-Hamelin, piano

Charles Richard-Hamelin in Schroeder March 25 (JCM Photo)

HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL

by Terry McNeill
Sunday, March 25, 2018

Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely played work (Ligeti, Anton Rubinstein, Alkan, Field). Mr. Hamelin programmed just conventional Schumann and Chopin. Another risk, and with easy comparisons with more established pianists than the 29-year old competition winner.

What was not risky was Mr. Hamelin’s musical approach, as he was unconventional in a boisterous and dramatic mood during almost all of the Schumann Op. 18 Arabesque and C Major Fantasia, and the Four Chopin Ballades. He played the C Major Arabesque with the cantabile the 1839 work needs, and used the shift pedal often to color the sound and the two contrasting episodes.

In the famous Fantasia the long first movement unfolded in dramatic fashion, and Mr. Hamelin made it harmonically clear that the key never really resolves into C Major until the last page. Oddly he played three final soft chords where the score indicates only two. An occasional bass doubling again pointed to the work’s complex harmonic structure. It was a powerful reading but never willful. In the marvelous March movement Mr. Hamelin’s pianism was convincing in its energy but less so in tonal beauty. But it’s that kind of movement, and he three times doubled left-hand chords for potent interest, the last before the legendary contrary-motion skips in both hands (which he nailed without apparent fear).

Lovely modulations were highlighted in the dreamy finale, played more rapidly than conventionally, and the small climaxes were carefully shaped. The second chorale theme had beauty, with balanced chords before the last long section began. The three pianissimo chords that end the piece were masterfully even and at soft volume heard to the back of the Hall.

Following intermission Mr. Hamelin again spoke at length to the audience of 150, sometimes indistinctly though using a microphone, and began with the ever-popular Chopin G Minor Ballade, Op. 23. There was a natural rise and fall to the phrasing and general sonic muscle, though the right hand octaves in the repetition of the second theme were played too fast for clarity. This Ballade has a narrative backbone that Mr. Hamelin set out well. Big boned playing continued in the F Major Ballade, a piece where cascades of sonorities were effectively delivered, and the carnage of the final measures led into a quiet and simple ending. Momentum from the previous two Ballades carried over to the A Flat, the most congenial of the four, and was a little out of place. Mr. Hamelin used a lot of damper pedal and pushed the tempo. He is not a colorist and here energy tempted lyricism.

The recital ended with the F Minor Ballade, with the Schumann Fantasia one of the peaks of 19th-Century piano literature, and when played by a seasoned virtuoso it is a cosmos of emotions in fewer than ten minutes. Mr. Hamelin’s conception this afternoon was conventional but never routine, and there was abundant power and voice leading. The tenor section was taken slowly. Before the tumultuous coda the pianist avoided extending the bottom C Major Chord with pedal (the Slavic tradition) prior to the five soft anticipatory chords, and signaled the rushed drive to the finish with impressive fury and clarion speed. On balance it was the best local set of Chopin Ballades since Lang Lang’s Weill Hall 2013 opening concert, and the more recent Nancy Lee Harper traversal for Concerts Grand.

One encore was offered, a transcription (Wilhelm Kempff?) from Bach’s keyboard Concerto in F. It was sensuously played, and a warm change from tempestuous pianistic brilliance of the glorious Ballades.