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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
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 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.