Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
Chamber
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
Chamber
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
Chamber
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
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.