Home  Reviews  Articles  Calendar  Presenters  Add Event     
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 Rosaís 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 Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís 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 SaŽns, 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 Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís 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...
SYMPHONY REVIEW
Marin Symphony / Sunday, October 28, 2018
Alasdair Neale, conductor. Dylana Jenson, violin

Conductor Alasdair Neale

MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON

by Terry McNeill
Sunday, October 28, 2018

Just two works were on the opening program of the Marin Symphonyís 67th season Oct. 28, Tchaikovskyís iconic D Major Violin Concerto, and Shostakovichís Tenth Symphony.

Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra introduction of the Tchaikovsky, setting the stage for the entry of few cadenza-like bars from soloist Dylana Jensonís broadly lyrical main theme. There are many ways to interpret this 1878 work, usually a high-powered virtuosic showpiece with muscular virtuosity, but this afternoon Ms. Jenson chose a low-voltage approach. With the hallís direct and non-reverberant sound, her playing had clarity and often elegance, but was frequently covered by the orchestra. A similar understated performance in the same hall and orchestra was in the 2016 Jennifer Koh Barber Concerto, but a big violin sound can be had here, as Vadim Gluzman proved many seasons ago.

Ms. Jenson played the cadenza (the composerís own; are there others?) well with exemplary bow control in the top register and with small tailing off at phrase endings, limited swelling on individual notes and immaculate scales. Mr. Neale held the orchestra back at places, deferring to the soloist.

All through the performance Ms. Jenson was never in a hurry, preferring a chaste projection of themes in the allegro and andante movements, and melding flawlessly with solos from flutist Katrina Walker and clarinetist Arthur Austin. The violinistís trills were not only fast but deftly shaped, and she commanded a spiccato technique that was admirable.

In the concluding allegro the workmanlike solo interpretation continued without many intriguing ideas or playing that didnít emerge from the orchestral fabric with any commanding sonic projection. Oboist Margot Golding played beautiful responses to Ms. Walker, and Mr. Neale provided solid support to the rhythmic of the dance and at times the bass-heavy second theme.

The audience greeting the low-temperature reading with an extended standing ovation.

Following intermission Mr. Neale drew from his orchestra an extraordinarily lucid and powerful reading of the Shostakovich Symphony, a four-movement work from 1953. Conducting without score (pretty rare these days, and somewhat dangerous) Mr. Neale let this majestic and sporadically menacing piece unfold naturally, building sonically thrilling climaxes throughout, as the composer (with perhaps symphonists Tchaikovsky, Bruckner, Mahler and Sibelius) could uniquely construct. The darkly brooding moderato, lasting almost 30 minutes, was brilliantly played. Mr. Neale avoided milking the long and often loud phrases, clearly wanting the momentum to have a natural pace and sensibility. I suspect Mr. Neale knows well the composerís rarely performed Fourth Symphony (1936), with its deep bass and cello underpinning, and at this concert he seated the low strings stage left for additional sonority.

Beautiful clarinet and horn playing characterized the first movement, and a piccolo duet (Ms. Walker and Sasha Launer) was captivating. The composer writes masterfully for this instrument.

The short scherzo had terrifying impact with relentless speed and raucous intensity, the trombones especially potent. Several violinists could not quite keep up with the breakneck velocity, and the ensemble was at times blurred. Horn playing in the third movement allegretto was almost impeccable, with principal Darby Hinshaw sounding richly above his orchestra colleagues, and lead to a laconic and characteristically melancholic Shostakovich thematic response from Ms. Walker sorrowful clarinet phrases.

Sterling wind playing continued into the finale (andante Ė allegro) where the conductor continued to fashion a glorious rubric of rich sound, keeping the many threads of this complicated music well in hand. Standout soloists here were Mr. Austin, Ms. Walker (projecting a theme which was a call to musical battle), the cello section and bassoonist Carla Wilson. The Marin Symphonyís four-horn section played the tricky four-note ascending and descending phrases in unison.

This performance was among the finest I have ever heard from the Marin Symphony, in a work that demanded astral virtuoso accomplishment from each section. However, the hero of the afternoon was Mr. Neale, whose conception and authority in Shostakovichís music were marvelous to experience.

Bravos erupted at the end of the 59-minute odyssey, and the ovation was long and resounding.