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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
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. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
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...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
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 REVIEW
Santa Rosa Symphony / Sunday, April 08, 2018
Bruno Ferrandis, conductor. Tracy Silverman, electric violin; Jacalyn Kreitzer, mezzo-soprano; SSU Symphonic Chorus, Jenny Bent, director

Conductor Bruno Ferrandis

IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY

by Steve Osborn
Sunday, April 08, 2018

In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the human voice, both in person and impersonated.

The in-person voices appeared in Prokofiev’s “Alexander Nevsky” cantata; the impersonated ones in the “Prelude and Liebestod” from Wagner’s “Tristan and Isolde.” The utterly non-vocal electric violin took center stage in John Adams’ “The Dharma at Big Sur.”

Let us begin at the end, a thrilling, blood-quickening and triumphant rendition of the 13th-century Russian prince Alexander Nevsky entering into Pskov after defeating a thundering horde of German knights on a frozen lake. The massive Sonoma State Chorus, supplemented by other local choirs, sang (in Russian), “Russia marched out to mighty battle, Russia overcame the enemy. … Whoever invades, will be killed.” Their diction was precise, their words fully intelligible, their delivery superb. They soared above the mighty orchestral forces assembled below and stole the show.

And what a show it was. “Alexander Nevsky,” composed in 1938, is one of the great film scores, and its narrative drive is fully evident even without its visual counterpart. Conductor Bruno Ferrandis, returning after the lengthy search for his replacement (Francesco Lecce-Chong), turned up the momentum and moved the score briskly forward. The opening section, “Russia beneath the yoke of the Moguls,” was suitably eerie and oppressive, with a four-octave, two-note chord setting the mood.

The choir’s entry in the subsequent “Song of Alexander Nevsky” was strong and precise. The basses rang out, and the sound filled the hall. The song’s final refrain--“Whoever invades Russia, shall be killed”--drove home the cantata and film’s obvious purpose of rousing the Russian citizenry against the Nazis. As the story moved forward, the chorus kept returning to that invocation, singing “Arise, people of Russia!” “Let the enemy perish” and other phrases of that ilk, always with power and conviction.

Meanwhile, the orchestra kept up a furious pace, with standout performances by the brass and memorable sounds from the strings. The famous “Battle on the Ice” was played at a fever pitch, with the string, brass, winds and percussion sections trading phrases with machine-gun rapidity. Ferrandis was as invigorating as ever, jumping around on the podium and swooping his arms like a raptor in flight.

The only disappointment was the solo by mezzo-soprano Jacalyn Kreitzer, who buried herself in the orchestra instead of striding forward on the stage. Admittedly, the solo has a very low range, but it didn’t ring out, although her tone was often lovely.

The musician who did ring out, with the help of plentiful amplification, was the electric-violin soloist, Tracy Silverman, who appeared earlier in “The Dharma at Big Sur.” His instrument sported two additional strings below the low G (lower C and lowest F), a bevy of pickups near the tail, and no acoustic properties. All the sound came out of two speakers on the ground behind him. Amplified instruments conquered pop music long ago, but in the acoustic context of the concert hall, it’s hard to understand their appeal. The sound is unrelentingly harsh and devoid of subtlety, and the upper registers grate on the ears. Thankfully, Silverman did not play his violin at top volume, but he had the potential to drown everybody out.

In contrast to the overbearing violin sound, John Adams’ music was delightful, with shimmering orchestral textures and complex syncopations that sustained interest. For all the intricacy of the orchestral line, however, it mainly functioned as a drone for Silverman’s peregrinations. He displayed excellent technique and strong bowing, but he was often out of tune in the upper reaches of his instrument.

Silverman, who wowed the audience, was more convincing in his encore, a piece by rock legend Carlos Santana. Here Silverman displayed more flexibility and rhythmic intensity, but he diminished the performance by recording what he was playing and then using the recording as background for further improvisations. It was technically impressive, but it felt like a parlor trick.

The concert opener, on the other hand, was a convincing display of lush acoustics supplemented only by the instruments’ own resonant overtones. “Tristan and Isolde” is about as romantic and tragic as music gets, and Ferrandis evoked both qualities to the hilt. The beginning in the low strings was wonderfully hushed, and the echoing winds were a perfect rejoinder. What was most impressive, however, was the ever-so-gradual crescendo from the haunting opening to the first climactic moment, followed by a long decrescendo and another rise and fall as Tristan dies in Isolde’s arms. You could almost hear them singing.

Reprinted by permission of San Francisco Classical Voice.