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JOYFUL ACCOLADES FOR BROWNS IN SRS VIDEO GALA
by Terry McNeill
Saturday, September 12, 2020
As with many area musical groups the Santa Rosa Symphony has scheduled several virtual concerts, beginning Oct. 11 in Weill Hall. In a program surprise, a pre-season Gala honoring Norma and Corrick Brown came Sept. 12 on YouTube, and proved to be an attractive if not especially riveting 70 minutes ...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 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...
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 9, 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 2, 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 1, 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...
SYMPHONY REVIEW

Simone Porter

SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY

by Steve Osborn
Sunday, January 12, 2020

The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close but didn’t quite summit.

Ms. Porter wore a red jumpsuit that complemented her athleticism and musicality. She was often in motion, whether bending at the knees to gather strength or bolting upright to reach the highest notes on her instrument. Her movements often paralleled her phrasing, with forward surges or backward steps marking phrase beginnings and endings.

The main story, however, was Ms. Porter’s gorgeous sound, particularly on the lower strings. Her low notes at the beginning of the concerto’s first movement were simply stupendous. She could have stayed down there for the entire concerto, so awesome was the sound.

Nonetheless, Ms. Porter moved on to the upper strings, complementing her basso profundo with exquisite phrasing somewhere north of high C. It was a visceral performance aided and abetted by flawless bowing and vibrato. Her bow arm was a marvel of fluidity. The highlight of the first movement was a “sul G” passage near the end that the violinist played entirely on the G string while effortlessly shifting up and down the fingerboard. The closing presto was nearly as riveting, and the audience, including me, burst into indecorous applause at the end.

Sadly, the slow second movement didn’t live up to the sprightly first. The horn entries were sometimes ragged, and the orchestra was often too loud, covering Horner to a certain degree. Worse still, the tempo began to plod in the middle, but both Horner and conductor Francesco Lecce-Chong made a full recovery in time for the emotional ending.

The third movement was a mixed bag. Ms. Porter played the main theme beautifully, really digging in to the repeated downbows that punctuate the movement. But her many upper-register runs were sometimes rough, with dubious intonation on the highest notes and a lack of clarity in the fastest passages. The beauty and urgency of her playing, however, brought her close to the top. Stardom is a definite possibility after some fine tuning.

Sticking with the tried and true, Mr. Lecce-Chong conducted Brahms’ second symphony after intermission. Instead of a red-clad soloist, attention shifted to the orchestra itself, where full participation is needed to unveil Brahms’ intricate and monumental construction. The strings began with assurance, producing a lush but crisp sound in the opening bars. The conductor's gestures on the podium were compact and exact, displaying a lapidary polish and precision. One could close one’s eyes and imagine a bucolic alpine meadow, surrounded by imposing mountains.

The cellos opened the second movement with an expansive line that warmly embraced a limpid solo by horn principal Meredith Brown. Suddenly, everything was moving at once, with each line distinct and easily heard. Mr. Lecce-Chong achieved clarity amid Brahms’ density, allowing each section its moment in the sun. A wonderful pause near the end actually increased the dramatic intensity.

The exactitude and precision continued in the remaining movements. In the third, the dynamics were superb, the melodies playful and lilting. In contrast, the fourth was rollicking and tumultuous, with a staggering level of artistic invention on display. Mr. Lecce-Chong captured just the right spirit by eschewing overly dramatic gestures and keeping to the task at hand. It’s hard to imagine a better performance.

Embarrassingly, I was a few minutes late to the concert because of a forgotten ticket, so I had to watch the opening piece—Missy Mazzoli’s Sinfonia—on a closed-circuit TV in the lobby. It sounded interesting, but that’s as far as I can go.

Reprinted with permission from San Francisco Classical Voice