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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
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 Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s 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 Saëns, 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 Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s 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
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.