Home  Reviews  Articles  Calendar  Presenters  Add Event     
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
Vallejo Symphony and American Canyon High School Chamber Choir / Sunday, March 31, 2019
Marc Taddei, conductor. Brad Walker, baritone; Shawnette Sulker, soprano; Jaime Butler, Choir Director

Conductor, Soloists and the VSO March 31 in the Empress Theater

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 Beethoven’s Leonore Overture No. 3, Op. 72, and he drew from the orchestra many small but effective climaxes in the 16 minute work, with sterling flute and piccolo playing by Melanie Keller, and Kale Cummings’ resonant trumpet solo that seemed to come from the audience. The Hall has clear acoustics but a short reverberation time, presumably helped when each of the 432 seats is filled.

Fauré’s Op. 48 Requiem was probably the piece on the program that was the afternoon’s attraction, and Mr. Taddei introduced it from the stage with comments about the current and coming VSO seasons. He is a witty speaker. Soloists were baritone Brad Walker and soprano Shawnette Sulker, the latter frequently heard with the American Bach Soloists and at the Mendocino Music Festival. American Canyon High School’s Chamber Choir occupied the rear of the small stage, with 35 singers.

It was an earnest performance of the seven sections, but ultimately an underpowered one. The Choir, prepared by Jamie Butler, could not effectively cut through the orchestral fabric for a clear sound, despite Mr. Taddei’s deft sonic control of the Orchestra. Mr. Walker’s resonant voice in the offertoire gave underpinning, along with the small organ, to the sound where often there were no high strings employed, and he held the section’s final note with vigor.

The composer is anecdotally known as “old arpeggio,” and the sanctus produced those chordal figurations, and harpist Anna Maria Mendieta could be clearly heard, along with a lovely long trill from the first violins ending a meandering theme. Ms. Sulker sang mostly as a duo with the organ (sans violins) in the pie jesu, leading to a long descending orchestral line with indistinct choral projection in the agnus dei.

Mr. Taddei never let the pace slack in the libera me and the finale in paradisum where at key points the cellos, bass and viola sound covered the Choir. A long fermata ended the wonderful Fauré work and Mr. Butler joined the soloists on stage for loud applause.

A “call or summons” from timpani leading to rising strings began the Sibelius 7th Symphony, closing the concert’s first half and for me the event’s highlight. Harmonies in this 1924 work, the composer’s last symphony, faintly echo Wagner’s Tristan and surprisingly Howard Shore’s music to the films “The Lord of the Rings.” With Tchaikovsky and Shostakovich, Sibelius is the master of big climaxes, but in the Op 105 work the climaxes are few and not so big, and were well shaped by the conductor. The pace taken in the one-movement work, lasting 21 minutes, was generally slow and unfolded naturally.

There was a burnished feeling to Mr. Taddei’s interpretation, with lots of tympani (John Weeks) and building horn solos from Margarite Waddell’s section and unison string playing. There were faint references to the composer’s famous “Valse Triste” toward the end, in an autumnal character leading to a strange C Major key, and Mr. Taddei uniquely quickly cut off the soft ascending phrase that concludes the work. Some conductors like to have the sound linger but Mr. Taddei had perfectly logical ideas in shaping the final pianissimo mildly dissonant and restrained ending. I found his reading convincing and always beautiful.

Of course the hero of the day was Mr. Taddei, whose name appeared on the Virginia Street theater marquee alongside big VSO lettering, and who mixed with the audience and musicians in the spacious lounge after the performance, responding to arcane musical questions and his previous life in New Zealand.

The 2019-2020 season, announced during the concert and featuring the final three symphonies of Dvorák and those of Barber (No. 1), Roy Harris and Ives (both No. 3), will continue the format of two-set performances. Success breeds success.