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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...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
CHORAL AND VOCAL REVIEW
Green Music Center / Saturday, December 15, 2018
American Bach Soloists. Jeffrey Thomas, conductor

Conductor Jeffrey Thomas

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 in 1741 and the composer’s sixth in the genre, a lot can be said. In a Dec. 15 Weill Hall concert the sterling San Francisco-based ensemble, led elegantly by Jeffrey Thomas, produced a glorious interpretation that lasted two-hour and twenty-minutes and seemingly the interest from the audience of 750 never flagged.

Mr. Thomas arranges his orchestra with a harpsichord and small organ in the middle, with second violins stage left and his 32 singers in a choral circle. The four soloists (Soprano Mary Wilson; Eric Jurenas, countertenor; Aaron Sheehan, tenor; and baritone Jesse Blumberg) were seated in front of the chorus. Throughout the long concert, with a 27-minute intermission, Mr. Thomas drew a sprawling but also graceful interpretation from the ABS, and clearly he knows every note and nuance the score, and is able to generate steady tempos over long sections. The ABS performs this work in four Bay Area halls each holiday season.

Attacks and cutoffs were clean throughout, always with a masterful interweaving of soloists and orchestra sound. Interludes between the 55 short sections in 16 scenes were just a few seconds, and continuo playing by cellist William Keen and organist Steven Bailey kept the music grounded. Listeners expecting clear diction from the chorus and in some solo roles, perhaps from miked recordings, might have found the Weill acoustics sporadically blurring, but overall the conductor was able to artfully control section balances. Fugal parts were paced in exact proportions.

The ABS orchestra produced lovely string sound sans vibrato, and the upper strings’ short repeated notes, contrasting Mr. Juranas’ expressive singing in recitatives (“All They That See Him”, “ Thy Rebuke Hath Broken”, “Behold and See”) was a light and effective spiccato.

Highlights were many. Ms. Wilson’s fioritura in “Rejoice Greatly” was impressive, as was the sterling baroque trumpet playing of Kathryn James Adduci where she swelled powerfully on individual notes. Solo parts for leader Elizabeth Blumenstock, the pre-eminent baroque violinist in Northern California, were few but telling, and the violins executed the many unison short trills perfectly. The alto solo “He Was Despised” just after the break was resplendent. An alto-countertenor duet in “O Death, Where Is they Sting?” was captivating.

At the beginning of the famed Hallelujah Chorus nearly all of the audience stood, though recent research contends that King George II of England didn’t stand for this glorious music in the first London performance, and in fact was not present at all.

Leaving the hall I was reminded of long ago Messiah performances in the cavernous Pasadena Civic Auditorium, conducted by the legendary Richard Lert. The cheapest seats (and much ambient heat) were at the top of the balcony, and that’s where my mother and I listened, and frequently drowsiness was present. But not for this wonderful ABS performance, as the majesty of Handel’s music was constantly enthralling.