Home  Reviews  Articles  Calendar  Presenters  Add Event     
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 it’s 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 Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s 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 Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, November 04, 2018
Francesco Lecce-Chong, conductor. Sharon Isbin, guitar

Composer Leonard Bernstein

PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY

by Steve Osborn
Sunday, November 04, 2018

Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world.

Mr. Silow’s comments were timely, and the Symphony proved them to be true with an energetic and memorable performance of Bernstein’s dances, along with an eclectic program that ranged from Liszt’s “Mephisto Waltz No. 1,” Kodaly’s “Dances of Galanta” and Villa Lobos’ guitar concerto, with soloist Sharon Isbin.

For sheer audacity and panache, the Symphony’s show-closing performance of “West Side Story” easily eclipsed the other offerings. The musicians played at full tilt and with masterful precision, aided greatly by Conductor Francesco Lecce-Chong’s lucid direction and forward momentum. The black-clad, mostly middle-aged orchestra showed that it can really swing, especially when backed by a torrid percussion section.

From the opening finger snaps, Bernstein’s dances were all rhythm, almost all the time. The “Mambo” dance really cooked, with the intricate orchestration producing a joyous and irresistible noise. Equally joyous was the “Cool Fugue,” with its crisp lines and outstanding drum-set pyrotechnics. The slower “Somewhere” dance was less successful, a victim of its own schmaltzy melody. In contrast, the slow “Finale” eased up on the schmaltz and offered a somber reflection on the preceding “Rumble,” a searing depiction of a deadly fight. Throughout the performance, the players showed commendable versatility, producing solid sound at tempos that ranged from vivace to presto to hyperdrive. Stray notes were absent from even the fastest passages, and everyone started, stopped, swelled and diminished on cue.

Considerably more languid musical forms inhabited the Villa-Lobos guitar concerto, which concluded the first half of the concert. The concerto drifted from one musical idea to the next without much of an overarching structure. Adding to the murk was Ms. Isbin’s insouciant playing of her amplified instrument. The debate over amplifying classical guitars for concertos continues to rage, but it’s worth noting that Andres Segovia, the Spanish virtuoso for whom Villa-Lobos wrote this particular concerto, was a staunch opponent of amplification.

Setting aside Weill Hall’s superb acoustics, it’s hard to imagine that a sound as harsh and artificial as the one emanating from Ms. Isbin’s amplifier had anything to do with Villa-Lobos’ conception for the concerto. The bass dominated the amplifier, at times drowning out runs on the upper strings. Notes that should have rung out were muted by an electronic haze.

Ms. Isbin could have salvaged the sound by playing more passionately and expressively, but her face remained buried in her score, and she didn’t make much effort to connect with the audience. Nonetheless, she did play an encore, Granados’ famous Spanish dance, a staple of classical radio stations. With no competing orchestra, there was even less need for amplification, but she plugged in once again, with similar results.

The program opened with a lively reading of Kodaly’s “Dances of Galanta,” a suite of 18th-century Hungarian gypsy dances that were originally intended to entice recruits into that era’s endless wars. The intent may have been militaristic, but the dances are benign and tuneful, falling gracefully into Kodaly’s inventive orchestration. Soloists abounded, but the standout was principal clarinetist Roy Zajac, who imbued his tunes with an authentic gypsy feel. The work opened a bit slowly, but the inevitable accelerando to a whirling close was well controlled and effective.

The opener for the second half was yet another dance, this time Liszt’s much-played “Mephisto Waltz No. 1.” Mr. Lecce-Chong began the dance with ferocious energy, leading the cellos in an impressive series of down-bows to punch out the eerie melody. The dynamic control was spot-on for the rest of the piece, and the frenzy was palpable.

“West Side Story” followed, and then an unexpected encore where about a dozen members of the symphony’s Youth Orchestra joined their older compatriots in a vivacious performance of Bernstein’s “Candide” overture. One diminutive second violinist barely reached the top of her music stand, but the rest seemed to be high schoolers, and they all played admirably.

Reprinted by permission from San Francisco Classical Voice.