Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
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...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
RECITAL REVIEW
Vocal Recital / Saturday, February 23, 2019
Carol Menke, soprano; Marilyn Thompson, piano

Marilyn Thompson (l) and Carol Menke Feb. 23 in Schroeder Hall

24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY

by Terry McNeill
Saturday, February 23, 2019

Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to this bleak landscape is the wonderful Carol Menke, and with pianist Marilyn Thompson the soprano gave a splendid recital Feb. 23 in Schroeder Hall.

Ms. Menke, constantly active with performing, teaching and multiple chorus direction, offered a tour of 24 art songs in four languages, beginning with three songs on the text “Weep You No More” by Dowland, Quilter and Robert Sheldon. All were charmingly sung, especially the pensive and eerie Dowland. Floated and rhapsodic top notes characterized the Quilter, and Ms. Thompson’s rippling arpeggios the Sheldon version. The audience clapped between each, an irritating intrusion that would last the entire recital.

Preceding three Schumann songs the soprano offered comments on the afternoon’s composers in her usual charming and self-effacing way, and the initial Schumann song (“Die Blume der Ergebung”) was immediately was familiar aural territory. It was a richly colored song, as was the warmth and yearning of “Meine Rose” with Ms. Menke’s fluent modulations and Ms. Thompson’s lovely postlude. The more familiar “Lied der Suleika” completed the set with the singer choosing a judicious tempo and conveying veiled happiness.

Ms. Menke is a consummate Fauré interpreter, and “En Sourdine,” Op. 58, the “Vocalise” from 1906, and the early “La Rose” (1890) displayed her mastery. The singing of each was focused, rhapsodic and sensual, with often the piano parts proving that the composer was “old arpeggio.” The “Vocalise” was sung with wordless melismatic E Minor leaps and filigree, and the final song, a tribute to a rose, had more bass sound the piano and for a moment covered the vocal line. That’s not usual for Ms. Menke’s singing, as her voice can tend to be powerfully operatic in art song, especially with Schroeder Hall’s acoustics and today being only a third full. Diva Margaret Price’s lieder singing made the same effect on me, too potent for the humble song.

San Francisco composer Robert Sheldon’s four songs closed the first half, and the duo has recorded several of them. Ms. Thompson, a friend of the composer that died in 1995, cordially mentioned several aspects of Sheldon’s life, and proceeded with Ms. Menke to perform “Memory, Hither Come,” “Cool Is the Valley Now,” “Marsh Cry” and “My Woman Says.” The musical atmosphere was sharply different from the beguiling French diction of Fauré, and the highlight was the dark “Marsh Cry.” Here the voice and piano were often far apart, the harmonies intriguing and Ms. Menke’s voice and interpretation bordered on shrillness. Singing in the finale was bright and gay, briskly moving along and shedding some of the previous melancholy.

Acoustical clarity was improved by moving close to the stage for the second half, that began with Turina’s Poeme Forma de Canciones,” Op. 19, and the piano solo of the initial “Dedicatoria” was omitted. The singer only sporadically looked at the score in this impressionistic music that first sounded uniquely Spanish in the swirling “Cantares” with its up and down jumps and high forte ending note. The bucolic “Los Dos Miedos” had a shimmering and complicated sound, with hints of Granados and even Chopin. The up-tempo “Las Locas Por Amor” had an optimistic contrast of voice and piano lines, reminiscent of Chabrier, and an exalted character.

Four of Copland’s “Twelve Poems of Emily Dickinson” were each individual and in ways inspiring, as the great poet’s creations were. “Nature, My Gentlest Mother” was sung with the character of the composer’s folk themes of the 1930s and 40s, with a strong chest voice and a call and response with the piano. “The World Feels Dusty” ended in mysterious shades of gray, and Ms. Menke played off the quiet dissonances in the slow “Heart, We Will Forget Him.” Exquisite singing was heard in the “Why Do They Shut Me Out of Heaven,” the poem unfolding with surprises and a long top note at the end. Applause was fulsome.

Powerful singing came in the closing three Strauss works, and Ms. Menke remarked that she had known the pensive “Morgen” (Op. 27, No. 4) since youth but this was her first public performance of the 1894 composition. The long piano prelude led to a glorious and autumnal ambiance, nothing rushed. In the “Wiegenlied” the singer’s control of small changes in volume was flawless and also operatic, and the closing popular “Ständchen” (Serenade, Op. 17) had all the probity of the Dickinson songs with much more warmth and passion.

No encore was offered.