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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
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...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
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 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.