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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 Ė a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday nightís 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 Bellís virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bellís regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bellís sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphonyís 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 Collegeís 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 Windsorís Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphonyís 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 programís first half, conductor Alasdair Neale primed the audience for the ďterra incognitaĒ of Adamsí 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...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital itís easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handelís seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if itís the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcellís Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the schoolís Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, September 22, 2018
Norman Gamboa and Gabriel Sakakeeny, conductors. Sophia Santulli, mezzo-soprano. California Redwood Chorale, Robert Hazelrigg, director

Composer and Conductor Gabriel Sakakeeny

SAKAKEENY'S LION AND ROSE HIGHLIGHTS SO CO PHIL'S 20TH SEASON OPENER

by Terry McNeill
Saturday, September 22, 2018

Fresh from a triumphant tour in Latin America the Sonoma County Philharmonic opened its 20th season Sept. 22 in a celebratory concert in the Santa Rosa High School Auditorium.

Keeping to the eveningís orchestra history and past performance, conductor emeritus Gabriel Sakakeeny, who led the So Co Phil in a tour of China, was at the podium to direct one of his own works, The Lion and The Rose, which was composed in 1987 and premiered in 2008 in a concert in Santa Rosaís Wells Fargo Center. Mr. Sakakeeny clearly has not lost his mastery of balances and orchestra color, and the work has a shimmering quality that grows larger as the 15-minute cantata unfolds. The stage was crowded with 29 singers from the California Redwood Chorale, the 49-member Philharmonic and the powerful mezzo-soprano Sophia Santulli.

In remarks to the audience of 200 Mr. Sakakeeny characterized the work as a ďmusical rendering of a poem that interprets the gradual relinquishing of mind and ego in the course of spiritual meditation,Ē and a ďtimeless experience of delight and awe.Ē Whether the composerís musical description generated a clear conception is subject to some question, but itís a beguiling work that flows easily to the ear and at several climaxes packs a potent sonic picture.

Throughout the picturesque piece novel instrumental effects were heard Ė wood block taps, harp and marimba chime-like notes, timpani and horn interplay. What were barely audible was the piano part (only in Shostakovichís orchestra works can I hear the piano) and the Chorale standing stage rear. Ms. Santulliís singing, often in melisma, mixed artfully in ensemble under the composerís baton, and at the biggest climax actually soared over the orchestra. Her words ďThy Will Be DoneĒ put a stamp of finality to a long crescendo of sound, leavened only slightly by the entry of the Chorale. Pam Otsukaís violin solo blended beautifully with the playing from the harp (Christina Kopriva), marimba and Ms. Santulliís elegant singing.

Audience reaction generated the loudest ovation of the concert, with Ms. Santulli and Mr. Sakakeeny beaming with delight center stage.

In his 20-minute pre concert remarks to the audience conductor Norman Gamboa suggested that though the works of the first half had substantial merit, they might be forgotten when the warm themes of DvorŠk were heard and would stay in the mind while driving home. It was so. Itís interesting that since about 1960 Dvorak has increasingly been found on concert programs, similar to piano programs with Schubert. He is popular. The D Minor Symphony (No. 7) from 1885 is arguably the Czech composerís best, and was supposedly written to mirror Brahmsí F Major Symphony. For me itís an odd and wrong juxtaposition, as the Brahms Third is lyrical throughout, and the DvorŠk darkly intense in its four movements.

Mr. Gamboa was at the podium for the Symphony and drew a cohesive and potent interpretation, surprisingly leading without score. Clearly he has a reverence for the music, even increasing the volume in the opening allegro maestoso to blaring climaxes that put drama into DvorŠkís wealth of thematic ideas. The key of D Minor for Mr. Gamboa is indeed drama and muscular sonority.

Rich thematic support continued in the adagio with lovely clarinet and bassoon solos, fine horn playing (Eric Anderson, principal) and concise repeated-note phrases from oboist Chris Krive. String playing in pianissimo was very good, set off by soft woodwind chords and string pizzicato. A captivating movement, played wonderfully.

Czech rhythms dominated the vivace-scherzo and there was less folksy flavor to the music than the composerís usual scherzos. Mr. Gamboa brought out a sound that was extended and at the same time relaxed, and moved seamlessly to the allegro finale. Here there were strains of Brahms (Tragic Overture) in a chorale and theme played warmly by the cellos. Mr. Gamboa had his hands full in the tempestuous climax and change to a somber D Major, and the upper strings were stretched to keep up an even ensemble. However, he kept the momentum under control and led his orchestra to a driving, albeit dark, finish.

Henri Tomasiís Fanfare Liturgiques opened the concert, a unique amalgam of brass playing (13 musicians) that was joined by the percussion section. There were solos galore in the 20-minute Suite, composed in 1942 and taken from Tomasiís opera Don Juan de MaŮera. Standout playing was everywhere: Floyd Reinhartís tuba; Jeff Barnard's trombone in the Evangile section; the five horns and five percussionists; and trumpeter Tom Hyde. There was intriguing dissonance in several unison parts and jarring sound from two snare drum players. The chaste concluding Procession du Vendredi-Saint was played slowly and then became a final eruption of exalted orchestral sound.

Mr. Gamboa had sovereign control in this unique composition, as he did all afternoon.