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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...
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 REVIEW
Santa Rosa Symphony / Sunday, January 13, 2019
Francesco Lecce-Chong, conductor. Marie Plette, soprano

Conductor Francesco Lecce-Chonge

A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY

by Steve Osborn
Sunday, January 13, 2019

Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzling couple.

As if to herald these two masterworks, Lecce-Chong opened the program with two antiphonal brass fanfares by Toru Takemitsu: “Signals from Heaven 1 (day)” and “Signals from Heaven 2 (night).” For the daytime Signal, six brass players occupied stage right, while another half dozen defended stage left, with Lecce-Chong conducting in the middle and nobody else on stage. In the fashion of Gabrielli, the antiphon was slow-moving and filled with echo effects, building steadily to a triumphant chord. For the nighttime Signal, the players rearranged themselves and intoned a leisurely series of descending figures underneath a trumpet solo, again building to a sustained chord. The playing was excellent throughout.

As the rest of the orchestra filed in for the Mozart, the stage manager removed Lecce-Chong’s music stand. Lecce-Chong conducted the remainder of the concert from memory and, for the Mozart, without a baton.

The lack of a score or a baton allowed Lecce-Chong to engage closely with the orchestra, which responded in kind. They started the Allegro molto first movement at a brisk pace, with solid unisons from the various string sections. Their bows moved as one, and their intonation was superb. Lecce-Chong was a model of restraint, conducting with his head as much as his hands.

The second movement is marked Andante, but Lecce-Chong’s tempo was more like Allegretto, with sharply etched articulations and a playful spirit. Freed of the baton, Lecce-Chong used both arms almost equally, indicating long phrases rather than simply beating time. The Minuet third movement was likewise brisk, with an almost militaristic drive. The Trio section offered a brief respite, but the Minuet returned even more fierce and determined, with the players digging deeply into their strings.

The Allegro finale was a sprint to the finish, with more great unisons from the strings, even on the trickiest passages. Lecce-Chong propelled the orchestra forward with ever more dramatic movements, be it spreading his arms wide or punching the air in front of him like a boxer. For all that, the high points were the sudden rests, where the entire orchestra paused before launching back into the fray. The ending was electric.

Lecce-Chong took advantage of the interlude between the Takemitsu and the Mozart to explain the background for Mahler’s Fourth, which he described as “a child’s view of heaven.” The child in this case has passed away, so he or she is staring at the abundance of heaven, which is mostly blue sky with an occasional storm cloud.

Lecce-Chong’s remarks proved quite helpful for approaching the symphony, which offers a dizzying array of themes interspersed with bits of song and sharp-edged solos. Armed with a baton but still scoreless, Lecce-Chong used a light touch to smooth the many transitions in the opening movement. The relationships between the orchestral sections were so complex that the piece sounded like chamber music for, say, 18 voices: an octadecatet. Despite the complexity, each voice was distinctive, nowhere more so than in the wonderful French horn solo at the end, played beautifully by principal horn Meredith Brown.

Much of the focus in the Scherzo second movement was on concertmaster Joe Edelberg, who alternated his regular violin with another tuned a full step higher. He used the latter to lead a ghostly dance of death, in stark contrast to the otherwise sunny orchestration. His recurring pizzicatos were particularly chilling.

Lecce-Chong waited for full silence before unveiling the transcendent third movement, a quiescent Adagio that begins in the cellos and basses and gradually spreads upward through the orchestra. Despite the slow speed, the forward motion was ineluctable, bringing a hushed expectancy to the audience, which seemed to be hanging onto every note. Lecce-Chong never lost the thread as the theme and variations increased in urgency and emotion, ultimately exploding into triple-forte and then diminishing back to the opening dynamic. The impression was of floating in interstellar space.

As the Adagio faded out, the soprano Maria Plette entered from stage right to sing the Mahler song that inspired the entire symphony: “Das himmlische Leben” (The Heavenly Life). Unfortunately, the text of the song wasn’t printed in the program, nor was it projected on a screen, so the audience was left to its own devices to figure out what Plette was singing. I was able to track down the text later, but I regret not having it at the time because it adds significantly to the experience of the symphony. The key line is, “There is just no music on earth that can compare to ours.”

Setting the text problems aside, Plette sang adequately but not brilliantly. Her diction was good, and she projected well, but her vibrato was often too wide, and her voice could be sharp-edged. She did improve as she went along, however, and the orchestra continued to play brilliantly, making the final lines ring true: “The angelic voices gladden our senses, so that all awaken for joy.”

Reprinted with permission from San Francisco Classical Voice