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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...
OPERA REVIEW
Mendocino Music Festival / Friday, July 19, 2019
Festival Orchestra. Mary Chun, conductor. Kevin Gino, tenor; Aurelie Veruni and Ann Lucas, soprano; Nick Volkert, baritone; Bojan Knezevic, bass. Patricia Price, stage manager; Jenny Matteucci, chorale director; Janice Culliford, costumes

Principals B. Knezevic A. Veruni and K. Gino's Curtain Call (Conductor Mary Chun Watches)

'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 was July 19 when the Festival mounted Donizetti’s charming “Elixir of Love” in the massive tent on the bluffs overlooking Mendocino Bay.

The two-act work runs a little over two hours and stage director Ann Woodhead moved the action from rural Italy of the 1830s to rural Italy a hundred years later. On the wide stage were a rustic table, a few chairs, milk cans and the Festival Chamber Chorale of 15 quite elderly singers, in simple costumes by Janice Culliford. Mary Chun conducted the Festival Orchestra, hidden as always in MMF operas behind a black back stage scrim, but never missed due to the overloud amplification that favored brass and sporadically covered the ensemble’s singing on stage.

Elixir’s plot revolves around familiar operatic themes of boy wants girl/mix ups/boy finally gets girl, with the interest coming in the complications. Here it is the insertion of a quack snake oil salesman (Dr. Dulcamara) that through his extravagance and the town’s gullibility his home-brewed “elixir” (cheap Tuscan Chianti) solves romantic and social issues and ultimately brings good financial fortune and merriment to all.

How was the singing? Very good, with a balanced production spotlighting soprano Aurelie Veruni (as Adina) and her awkward swain (tenor Kevin Gino as Nemorino) and the massive bass Bojan Knezevic’s sprightly Sgt. Belcore, the village’ resident soldier. Tending to steal the show were the repartee and antics of baritone Nick Volkert’s Dulcamara, capturing the buffo pranks and inciting the action. Ms. Veruni in the first act combined coquettish acting with clear Italian and when needed considerable top-note power, important in the large-volume tent space with zero reverberation. Mr. Gino’s was equally impressive if with a less powerful voice and perhaps over-the-top hand gestures and continual fumbling with his straw hat and shaking the love potion bottle.

Elixir’s most famous area, “Una Furtiva Lagrima,” began with Mr. Gino’s tranquil mezzo piano introduction framed by lovely bassoon playing by Carolyn Lockhart, but never quite soared over the audience of 700. Tenors love to sing it, with recent stellar versions from Pavarotti and Juan Diego Flores. The “Quanto Amore” duet between Adina and Dulcamara was a highlight as in the second act the plot strands were coming together.

Musically the score was one that Verdi must have valued (Traviata, Ballo) and Ms. Chun, a veteran of bay Area conducting and Music Director of Petaluma’s Cinnabar Theater, drew a lively performance that never lagged. Even with stage right and stage center prompters, Ms. Chun must have had a video screen in front of her conductor’s score to manage the unfolding musical flow with the unseen stage action. Excellent playing during Ms. Veruni’s sensitively sung cabaletta “Prendi, per me sei Libero" came from clarinetist Eric Kritz and what was I think Meave Cox’ English horn. Did I also hear an electric piano or celeste?

The Festival’s much appreciated supertitles (the English libretto projected on the scrim) failed for much of the first act, but otherwise the production was pretty much flawless – no stage missteps, dropped lines, late orchestral entries or halting Italian words.

Elixir was another in a string of opera successes for the Festival, all the more impressive in that casting and rehearsal schedules are complex, and “it has to be right” for just one performance.