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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
Sonoma County Philharmonic / Saturday, January 26, 2019
Norman Gamboa, conductor. Tom Hyde, trumpet; Anthony Perry, English horn; Lin He, violin

Violinist Lin He

JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA

by Terry McNeill
Saturday, January 26, 2019

Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the Sonoma County Philharmonic managed to master the new hall and produced music at their usual high level before 250 people, with a repeat the following afternoon.

Conductor Norman Gamboa drew a warm sound from his orchestra in the Bruch Scottish Fantasy, Op. 46, with violin soloist Lin He. Mr. He’s focused and plangent sound was never large, and recalled the recent poised but not extravagant or high temperature approach of violinist Jennifer Koh with the Marin Symphony. The conductor’s section placement was usual (second violins stage left) but the concert harp was surprisingly positioned next to the cellos, and soloist Cristina Kopriva had a prominent part in the lyrical Bruch.

Acoustics in the Jackson were sharply less reverberant than the Santa Rosa High School hall, but warm and direct with the lip of the balcony much closer to the stage front than at SRHS. This seemed to favor the poetry of the adagio cantabile, ending with Mr. He’s brilliant high e string note. The scherzo’s expressive themes were projected well by Ms. Kopriva and Mr. He, with the latter’s wide vibrato and lovely trills.

Intonation difficulties at the opening of the andante sostenuto and blurring in fast scale passages resolved quickly, and Mr. He played the virtuoso ascending and descending runs and double stops in exemplary fashion. Passages from the five horns were splendid. The finale was lively with Mr. Gamboa in consummate control and Mr. He widening his vibrato and finishing the cadenza with a long and perfectly shaped trill.

Following intermission English hornist Anthony Perry and trumpeter Tom Hyde were the soloists in Copeland’s meditative 11-minute Quiet City, composed in 1941. As usual Mr. Hyde’s conclusive playing was never piercing or shrill, and he swelled on notes to achieve substantial loudness. The unique English horn sound has been in my ears since first hearing it in the introduction to the third act of Tristan und Isolde, and here Mr. Perry beguiling playing was softly effective. Mr. Gamboa drew subtle string playing from the reduced orchestra, and his pacing was generous.

Elgar’s Enigma Variations, Op. 36, concluded the concert in a performance where brass and horn solos were prominent, and splendid playing abounded throughout. Mr. Gamboa was clearly shaping the long thematic line throughout the 14 variations. Fetching individual playing came from clarinetist Nick Xenelis; flutists Emily Reynolds and Valerie White; Miranda Kincaid (bassoon) and in several short solos by violist Robby Morales.

The famous adagio variation (No. 9, “Nimrod”) was played with a light touch and the conductor moved the tempo and shaped a lovely flute phrase. There was only a brief accelerando leading to the finale, and throughout the 33-minute piece Mr. Gamboa never was in any hurry, letting instrument sound ranging from Floyd Reinhart’s tuba part to frequently rumbling strings to shine forth.

The Jackson provided a happy musical home for its new resident orchestra.

Ending the 20th anniversary season will be concerts in Jackson April 6 (7:30) and 7 (2:00) with the main work Prokofiev’s monumental Fifth Symphony in B Flat Major, Op. 100.