Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
ZUILL PLAYS ZWILICH WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, March 28, 2021
The Santa Rosa Symphony took a cautious step toward the return of live music in their March 28 virtual concert by sharing the stage with an actual live soloist rather than an apparition. Star cellist Zuill Bailey was still masked, and his back was toward the equally masked and plexiglassed orchestra...
Chamber
ECLECTIC CELLO PIANO VIRTUAL RECITAL FROM TOMKINS ZIVIAN DUO
by Terry McNeill
Sunday, March 28, 2021
The venerable 41-year Redwood Arts Council Series in Occidental has joined the virtual recital world with low budget but artistically satisfying programs, mostly using videos filmed in the performer’s residences. March 28 saw the Tanya Tomkins-Eric Zivian duo present an eclectic program from their ...
Symphony
SANTA ROSA SYMPHONY HITS THE SWEET SPOT
by Steve Osborn
Sunday, February 28, 2021
Small orchestras can inhabit a sweet spot between chamber ensembles and full orchestras, but how well they hit that spot depends on the composer's orchestration and the players' ability to project. That dependence was on full display in the Santa Rosa Symphony's Feb. 28 concert, which featured three...
Chamber
NOVEL OBOE-HARPSICHORD RECITAL FROM AIKEN DUO IN UKIAH
by Terry McNeill
Sunday, February 21, 2021
Oboe and harpsichord recitals are a rare North Bay event, even in a pandemic environment where a formal hall setting isn’t available. So it was a delight Feb. 21 to experience on the Ukiah Symphony’s website a recital by Symphony oboist Beth Aiken and harpsichordist husband Tom. The Aiken home vis...
Symphony
A HEALTHY MIX OF TRANSCRIPTIONS AND ORIGINALS FROM THE SR SYMPHONY
by Steve Osborn
Sunday, January 24, 2021
Transcriptions and ascending arpeggios were the order of the day on Jan. 24, as the Santa Rosa Symphony performed uplifting works by Bach/Webern, Ellen Taaffe Zwilich, Marianna Martínes and Mozart. The concert video was made in Weill Hall on Jan. 9. The first transcription was Webern’s 1935 renderi...
Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
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