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SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
SYMPHONY REVIEW
Vallejo Symphony / Sunday, November 03, 2019
Marc Taddei, conductor. Bobby Mitchell, piano

Conductor Marc Taddei

DVORAK SYMPHONY CYCLE CONTINUES IN VSO SEASON OPENING CONCERT

by Terry McNeill
Sunday, November 03, 2019

There was a surprise at the Nov. 3 Vallejo Symphony’s 88th season opening Concert. Of the three works programed by conductor Marc Taddei, the Bartok E major Piano Concerto was the least craggy and sonically demanding. Bartok upstaged in musical impact? How so?

Before a nearly sold out Empress Theater audience Mr. Taddei omitted the usual season-opening Star Spangled Banner and after brief remarks regarding the year’s themes (“Great and Noble” and completing a cycle of Dvorák Symphonies) directed an energetic performance of Barber’s First Symphony, Op. 9. Lasting just 21 minutes, the 1936 work had splendid cello-clarinet duos, potent tympani playing from John Weeks, and the golden sound from the middle of the Orchestra from oboist Curtis Kidwell.

Mr. Taddei’s conducting style is all business with distinct cues, certainly needed in the music that swirled from neo-romantic lyricism to sonorous flowing climaxes that at times encompassed a hint of remorse. The conductor’s section control in the Passacaglia (near the end) was sure and generated a big sound in the Empress’ non-reverberant space. This Symphony is often compared with the Sibelius Seventh, but to me they are far apart, and the Sibelius (played last season by the VSO) ends quietly in a mysterious ascending phrase. Here the conductor shaped a big sound, and in the applause he singled out Mr. Kidwell.

The hall’s piano (not a Steinway) was set center stage with soloist Bobby Mitchell tackling the third Bartok Concerto, an autumnal for Bartok work that sharply diverges from the two dissonant and difficult predecessors. Using a score but only sporadically looking at it, Mr. Mitchell adopted clipped phrases and a dry tone that suited the instrument and the music composed in 1945 at the end of Bartok’s life. There was sharply etched thematic projection throughout the three-movement work. Mr. Taddei was in no hurry with tempos and shaped the long lines and chordal weighting in the Adagio Religioso with care. Laurie Siebold’s piccolo playing was adroit.

In the Allegro Vivace finale balancing instrumental sections is paramount, and Mr. Taddei met the challenge admirably, controlling the often explosive outbursts. Mr. Mitchell’s playing kept pace and even a delightful piano ascending Glissando was added to the mix. A sterling performance of a masterpiece.

Following intermission Dvorák’s D Minor Symphony (No. 7) was heard, one of the last of the Dvorák Symphonies Mr. Taddei has led over several seasons since joining the VSO in 2016. Brahms was an admirer and mentor to Dvorák, and the German master’s C Minor Symphony is mentioned as a model to the Czech composer’s No. 7. Again for me the comparison is weak, and much more Bruckner and different textures seem imbued in the work that premiered in 1885. Mr. Taddei drew a resolute and authoritative reading from his Orchestra, though powerful brass playing frequently overpowered the high strings and made quick ascending unison playing in the first violins blurred.

Throughout the four movements flutist Melanie Keller played the virtuoso parts with consummate artistry, often in duos with clarinetist Diane Maltester and in conjunction with the horn section. The Poco Adagio opened like a summer flower with soft string sound and bucolic woodwind playing. In the Scherzo Mr. Taddei focused on the Czech character of the music with exemplary playing in duos from the cello section and bassoonists Jarratt Rossini and Michelle Keem.

Mr. Taddei continued his consummate orchestral authority in the finale, especially in a dark hued chorale section. In 38 minutes that seemed short the Dvorak’s 7th was an organic whole, the VSO playing splendidly and affirming the conductor’s clear connection with a masterful Symphony and glorious composer.

Audience reaction was swift and loud with applause, the only possible response. Additional Dvorák Symphonies are scheduled for the sets Feb. 29/March 1 and April 18/19, both in the Empress.