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Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious building that is one of Sonoma County’s loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.  Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago “Golden Era” of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didn’t play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuber’s work to the public’s attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
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.