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Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
SYMPHONY REVIEW
Vallejo Symphony / Sunday, April 15, 2018
Marc Taddei, conductor. Cecile Licad, piano

Cecile Licad and Marc Taddei April 15 (JCM Photo)

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 programming novelty the same pianist, Cecile Licad, played in each of the season’s three concerts, and in this afternoon’s concert the St. Saëns G Minor Concerto, Op. 22, was a featured work. The composer’s C Minor Concerto is arguably a more concise and greater piece, and the showy F Major (“Egyptian”) more sonically extravagant, but the G Minor second concerto never fails to charm audiences. And Ms. Licad did so, playing to loud acclaim from the packed 423-seat theater. But it was a performance that nearly went off the rails at many places, and was artistically lacking refinement and nobility.

Ms. Licad’s solo opening was mundane, at least compared with Mikhail Pletnev’s recent imaginative traversal, but the important interpretive misstep throughout were fast tempos and coarse pianism. The soloist was not a colorist, and the concert piano had a powerful bass register and thin treble that at many times covered the full orchestra sound. I thought I would never write that line in a review – piano covers full orchestra. Perhaps Anton Rubinstein in the 1870s, Hofmann in the 1920s or Horowitz in the 1960s. But Ms. Licad managed to hammer so forcefully that the charm and instrumental lines of the popular St. Saëns were submerged. This was especially apparent in the presto finale where the pianist’s manifold scales were continually blurred, wrong notes crept into the mix and the orchestra seemed to be hanging along for the racehorse ride.

The results were clamorous, and conductor Marc Taddei bears some responsibility for the breakneck speed and sonic mess. But it was an exciting mess, and the standing ovation was quick and long. Ms. Licad returned and played an encore of Chopin’s D Flat Waltz, Op. 64, No. 1 (“Minute”), in a dull reading that lacked elegance and omitted the now popular lilting descending thirds in the penultimate measure.

Perhaps the Empress’ direct, non-reverb acoustics contributed to the Concerto’s disorder, but following an extended intermission Mr. Taddei drew from his Orchestra a splendid reading of Mozart’s last Symphony, the “Jupiter” in C Major, K. 551. Conducting without score, as he did in the concert’s opening Tchaikovsky “Hamlet” Overture, Mr. Taddei adopted brisk tempos but phrases never sounded rushed, and instrumental section balances were exemplary. Attacks and releases were crisp and husky violin projection of themes, always a shortcoming for Northern California community orchestras such as the Sonoma County Philharmonic, here were richly played. The VSO is a professional ensemble.

In the andante cantabile second movement the antiphonal string effects were lovely, as the conductor seats the cellos stage left, gaining low string sonority. Fine horn playing (Margarite Waddell, principal) characterized the third movement, though here top register violin sound seemed to be stretched thin. Principal timpani player John Weeks played a major role in all four movements.

Then came inexorably the final movement of Mozart’s final Symphony, called by the conductor in audience remarks the greatest symphony ever written. The polyphony of the repetitive three and four-note phrases built inexorably, firmly in C major and at a clip swifter than all the preceding. Mr. Taddei took 12 minutes to cover a cosmos of emotion and palpable joy, but he was not in a rush to get anywhere, and took the two forte concluding three-note chords with a perfectly gauged fermata. It was consummate and controlled conducting, and clearly Mozart is close to Mr. Taddei’s artistic center.

Tchaikovsky’s Hamlet from 1888 has strains of the contemporary Overture to Romeo and Juliet and his opera “Eugen Onegin,” and showcased the Vallejo Symphony’s first-cabin wind section and solo oboist Curtis Kidwell. Instrumental contrasts and the composer’s masterful orchestration were deftly presented. A perfect concert opening performance.

Prior to both concert halves Mr. Taddei spoke at length, probably too much length, of a performance the next day in the same Theater of the Mozart Symphony for 800 school children, and plans for the 2018-2019 season. For the first time the Vallejo Symphony will play at least one of their concerts twice (Saturday evening and Sunday afternoon, March 30 and 31) in the Empress, and will feature the spiritual Fauré Requiem and Sibelius’ short but profound final Symphony.