Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
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...
SYMPHONY REVIEW
Santa Rosa Symphony and Sonoma State University Symphonic Chorus / Sunday, December 02, 2018
Jayce Ogren, conductor. Nokuthula Ngwenyama, viola; Jenny Bent, chorus director

Conductor Jayce Ogren

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-witted reviewer made the connection.

Instead of having Tell stride on stage and shoot the apple off his son’s head, the orchestra offered a bull’s-eye performance that split the overture right down the middle. Audiences of a certain age are accustomed to hearing only the latter part of the piece, where the Lone Ranger gallops across the screen shouting “Hi ho, Silver”; but there’s much more to it than that.

Principal cellist Adelle-Akika Kearns opened with a beautifully played solo, accompanied at times by four of her cello colleagues. Her tone was gorgeous, her vibrato smooth and her long trills outstanding. Next came solid work from the trombones, a lovely flute and English horn duet, and the heraldic trumpet entry that brings on the Lone Ranger. Guest conductor Jayce Ogren set a furious pace but proved adept at controlling dynamics and eliciting meticulous playing despite all the frenzy. Boisterous applause followed the rousing performance.

So far so good, but then the Swiss legend gave way to an English melancholic of far less heroic proportions. Berlioz’s “Harold in Italy,” based on Lord Byron’s semi-autobiographical poem “Childe Harold,” is a symphony masquerading as a concerto. The viola, ably played here by Nokuthula Ngwenyama, takes on the role of Harold observing various Italian tableaux. While the viola part is sometimes of interest, it is nowhere near as virtuosic or impassioned as true viola concertos by Bartok, Walton and other modern composers.

Ngwenyama spent most of her time playing long notes or arpeggios, with very few dazzling runs or assertive solos. She also hampered her stage presence by playing from a computerized score, which she kept advancing with a foot pedal. In addition, Berlioz’s awkward orchestration often had her doubling lines played by other orchestral sections, particularly the French horns. Her strings vibrated and her bow moved, but the horns drowned her out.

The viola is relatively prominent in the first two movements, but it begins to fade out in the third, deferring to the English horn for a prominent solo. By the fourth movement, the viola plays almost nothing except for a brief passage near the end, all of which entails a considerable amount of standing around.

Perhaps a better way to perform “Harold in Italy” would be to place the soloist in the principal viola spot inside the orchestra. The soloist would still be the main character, but only within a larger context that hides the long stretches of viola silence.

The soloists in Vivaldi’s “Gloria” also did a fair amount of sitting around, but that is de rigeur in works for orchestra, chorus and soloists. In a gesture to Baroque performance practice, the orchestra was reduced to 30 players, all but four of them strings. (The non-strings were a trumpet, an oboe, a bassoon and a small organ.) In contrast, the chorus remained at full strength, with about 70 singers from Sonoma State and Santa Rosa Junior College arrayed on the stage behind the orchestra.

The numbers worked to the choir’s advantage, allowing them to be heard clearly at all times. They enhanced their clarity by careful enunciation of the Latin text and by blending well as a group. The bass, tenor, alto and soprano sections were evenly balanced, and nobody stuck out.

The choir’s singing in the opening “Gloria in excelsis Deo” was sprightly and vivacious, and their performance of the subsequent “Et in terra pax” was restful and calm. Ogren did an admirable job of balancing the singers and the instrumentalists, offering clear signals and expressive hand gestures.

The solos began with a wonderful rendition of the “Laudamus te” soprano duet by Sonoma State alumnae Jennifer Thuman and Esther Rayo. Their voices were radiant, and they projected well in the large space. After another chorus, Thuman followed up with a sublime “Domine Deus” displaying a well-controlled vibrato and solid trills. The final soloist, mezzo-soprano Chris Fritzche, also impressed in another “Domine Deus” and the penultimate “Qui sedes.”

The chorus had the last word with a rousing “Quoniam tu solus sanctus,” leading to an emphatic and life-affirming “Amen.” The applause was long and loud.

Reprinted by permission of San Francisco Classical Voice.