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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
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 – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s 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 Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s 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 College’s 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 Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s 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 program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
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.