Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
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 REVIEW
Santa Rosa Symphony / Sunday, October 07, 2018
Francesco Lecce-Chong, conductor. Arnaud Sussmann, violin

Conductor Francesco Lecce-Chong

LECCE-CHONG PROVES HIS METTLE WITH SANTA ROSA SYMPHONY

by Steve Osborn
Sunday, October 07, 2018

Francesco Lecce-Chong was handed two warhorses for his debut as conductor of the Santa Rosa Symphony, and he rode them both to thrilling victory. For the first win, Brahms’ violin concerto, he owed much to soloist Arnaud Sussman, but for the other triumph, Beethoven’s fifth symphony, he and his musicians deserve full honors.

Beethoven’s Fifth is the primary source of the modern symphony, the achievement against which all others are measured. Not a note is wasted within its tightly reasoned structure, and all of them need to fall into place at exactly the right time. Aside from one negligible false entry, the Santa Rosa players fulfilled that duty to perfection, culminating in several spine-tingling passages that rose far above the notes on the page.

Mr. Lecce-Chong, whose final audition concert with the Santa Rosa Symphony was cancelled by last year’s firestorms, introduced Beethoven’s masterwork by observing that “Beethoven’s Fifth is about us” because it celebrates the human spirit and our triumph over adversity. In that context, the performance became even more meaningful, offering not only closure for a local tragedy, but also buoyant optimism for the future.

A large part of that optimism was due to Mr. Lecce-Chong’s presence at the podium throughout the concert. He conducted flawlessly in the first part of the program, but he really shone in the Beethoven. His crisp and precise beat was easy to follow, and his technique was exemplary. He highlighted stark contrasts between the legato and staccato passages, he let the syncopations ring out, and his dynamics were clearly evident. Moreover, he achieved all of this with minimal movement. He leaned forward and crouched down as necessary, but he was never showy. In the third and fourth movements, he was electric.

So too was soloist in the other warhorse, Brahms’ violin concerto. Mr. Sussman is an imposing soloist who stands straight, right next to the podium, with both orchestra and conductor well within his peripheral vision. His tone is gorgeous, and he projects well, soaring high above the orchestra with ease. His many other virtues are self-evident: perfect intonation, ramrod-straight bowing, tremendous dynamic range and blistering speed.

The violinist's phrasing, however, easily trumps all his other virtues. He carries phrases all the way through, heedless of bar lines or other restrictions that impede the flow of melody. He played whole sections of the concerto in one continuous line that sang from start to finish. His bow seemed glued to his strings as he leaned into melodies, completely dominating the stage.

Mr. Sussman’s performance was dazzling, but it could have been even more so if he had ventured closer to the front of the stage, particularly in the first movement’s lengthy cadenza. That was his golden opportunity to emerge from the orchestra’s shadow and fully engage with the audience, but he took only a few tentative steps into the vacant space.

Even warhorses start out as foals and yearlings, as evidenced by the inclusion of both a brand-new work on the program, along with another of less recent vintage.

The foal was “Sonoma Strong,” a remembrance of last year’s fires by Santa Rosa native Paul Dooley, who teaches at the University of Michigan. Mr. Lecce-Chong waited for dead silence before starting the piece, which begins with whirling instruments called sounding tubes that evoke the wind. Over this ominous noise, a solo trumpet enters, followed by a harp, a trumpet duet, a trumpet trio and then a full-blown trumpet solo over strings. Despite the increasing numbers of players, no conflagration is evident. Instead, the melodies are soothing and restful. The pace picks up when a conga drum enters, but the mood veers toward the triumphant rather than the incendiary. In and of itself, “Sonoma Strong” is laudable, but the connection to the firestorm is hard to fathom.

Ellen Zwilich’s 1984 “Celebration for Orchestra,” the yearling that opened the program, was more successful in its stated purpose. Celebrate the orchestra does, also beginning with the trumpets, who repeatedly play a simple two-note phrase before fading out. That phrase becomes the unifying element that allows the orchestra to celebrate its sonic diversity. The two-note sequence moved through the various sections, building up anticipation as the volume increases. A sudden pianissimo followed by the ringing of bells brings the celebration to a close.

Reprinted by permission of San Francisco Classical Voice.