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SIX GUITARISTS IN UNIQUE NAPA RECITAL
by Gary Digman
Sunday, July 25, 2021
The first Napa Valley Guitar Festival was held at Napa’s First Presbyterian Church July 25, and featured performances from six classical guitarists. The Church is an iconic structure in downtown Napa, its huge white presence dominating the scene, and the white theme continues inside punctuated by be
Chamber
CLARA SCHUMANN TRIO COMMANDS VOM CHAMBER MUSIC CONCERT AT HANNA
by Terry McNeill
Saturday, July 24, 2021
The Valley of the Moon Chamber Music Series has begun several virtual and a few live concerts in its new seventh season, some broadcast from Sonoma’s Hanna Center Hall and some in posh local venues. July 24’s video had a small live audience and a well-produced video program of three works. Titled “
Chamber
EXEMPLARY QUARTET PLAYING IN MENDO FESTIVAL FT. BRAGG CONCERT
by Terry McNeill
Wednesday, July 21, 2021
Faced with the impossibility of presenting concerts in the iconic large white tent on the bluff, the Mendocino Music Festival opted to use Ft. Bragg’s Cotton Auditorium for ten events in the abbreviated 35th season. San Francisco’s Alexander String Quartet played July 21 to a fully masked audience
Chamber
ECLECTIC PROGRAMMING AT PIANOSONOMA CONCERT IN SCHROEDER HALL
by Pamela Hicks Gailey
Tuesday, July 20, 2021
After a dark year bereft of live performance, pianoSonoma launched July 20 the first Vino & Vibrato concert of the 2021 season in Sonoma State's Schroeder Hall, albeit sadly senza vino due to Covid protocols. Three exceptional musicians showered the audience with an interesting variety of pia
Chamber
RARELY-PLAYED SCHUMANN HIGHLIGHTS HEALDSBURG RECITAL
by Terry McNeill
Saturday, July 10, 2021
Brave New Music sporadically produces concerts in and around Healdsburg, and July 10’s violin recital in downtown St. Paul’s Church must have been one of the first post-lockdown, post-be-extra-careful classical music concerts in Sonoma County's summer season. New Music Founder Gary McLaughlin with
Chamber
ECHOS ON A WARM SUMMER NIGHT
by Abby Wasserman
Saturday, July 10, 2021
ECHO Chamber Orchestra’s first concert in a year and a half, “A Musical Promenade,” was a promenade indeed. When patrons arrived at San Anselmo’s First Presbyterian Church for the 6:00 performance July 10, they were funneled through the garden to the Duncan Hall patio, where folding chairs were set
Chamber
LONG DISTANCE LOVE BEGINS VOM SUMMER FESTIVAL
by Pamela Hicks Gailey
Thursday, June 24, 2021
The Valley of the Moon Music Festival offered a 7th season preview June 24 with a stunning online concert, aptly named Long Distance Love, featuring inspired performances of Beethoven's short song cycle An die ferne Geliebte,, and selections from Brahms’ beloved Liebeslieder Wal
Recital
ROMERO'S ARTISTRY IN SLV RECITAL PROGRAMMING AND PERFORMANCE
by Terry McNeill
Wednesday, June 2, 2021
Gustavo Romero has been an admired visitor to North Bay stages, playing over a decade recitals at Dominican University, the Music at Oakmont concerts and at the Spring Lake Village Concert Series. He returned June 2 to SLV in a virtual recital, videoed from his home concert hall the University of N
RUBICON'S VIRTUAL CONCERT A MALANGE OF CONTRASTS
by Terry McNeill
Sunday, May 16, 2021
The inaugural concert of a new Mendocino County chamber group is a reason for celebration, and the Rubicon Trio made the most of a mixed musical menu during a May16 virtual concert. Presented by the Ukiah Symphony Orchestra as the last in their “Salons with the Symphony” Series, the Rubicon began w
Recital
PIANO VIRTUOSITY IN YAKUSHEV'S REDWOOD ARTS RECITAL
by Nicki Bell
Sunday, May 16, 2021
Russian pianist Ilya Yakushev’s recital for the Redwood Arts Council was perhaps the local season’s virtual music at the greatest distance, as the filming May 16 came from a church in St. Petersburg. And good filming it was, with multiple camera viewpoints of the church, full and split screens and
RECITAL REVIEW

Soprano Karina Gauvin

GAUVIN SPINS FRENCH SONG SORCERY IN INAUGURAL WEILL HALL VOCAL RECITAL

by Terry McNeill
Saturday, October 13, 2012

An incessant topic of audience conversation about acoustics in the newly-opened Weill Hall – where is best to sit, can the oboe be heard - has tended since the inaugural gala weekend to overshadow the actual performances. Canadian soprano Karina Gauvin put many of those notions to rest Oct. 13 with a splendid recital of mostly French art song before a half-full house.

With pianist Michael McMahon, Ms. Gauvin presented six groups of songs in French that, although it’s the singer’s native tongue, the French language can have too much sonic familiarity over a full recital. Singing in German or Italian, which Ms. Gauvin also commands, tends to have greater variety of style and of course different vowel and distinct sounds. The soprano avoided sonic monotony with richly varied tone colors and vocal expressiveness.

The singer, resplendent in a flowing blue gown that added to the impression of fluidity in French music, opened with four Hahn songs that included the magical Si Mes Vers Avient des alles. This reviewer has always loved the classic but brisk Bidú Sayão recording, but in Weil and in a recording with virtuoso pianist Marc Andre-Hamlin Ms. Gauvin slowed things down to great effect, and continued with a lovely reading of A Chloris. Harmonic interest is foremost in these songs and was highlighted in Le Printemps by Mr. McMahon’s fluid pianism.

Three Duparc songs came next and in Chanson triste Ms. Gauvin opened up with more volume, reflecting much of the music of Duparc’s contemporary Faure. Chanson triste has a long fermata for the piano, as Phidylé also does with a postlude, and Ms. Gauvin’s pianissimo control that hands off the phrase to her pianist was complete. She uses very little chest resonance in her lower tones that don’t carry well, the voice sometimes disappearing towards the back of the hall.

Massenet songs, again in a block of four, closed the first half. The frothy Madrigal led into the famous and sad Elegy, the tempo for both songs was just right and the soprano’s voice beautifully colored and focused. Les Femmes de Magdala, concerning women watching the world from the side of a road, produced an elegant call and response between the singer and pianist, and another bantamweight ending. The finale, L’improvisateur, was rollicking.

Ms. Gauvin developed a happy rapport with her audience that included two members of her family, and remarked in song introductions about certain composers and certain anniversaries that affected her program selections. She frequently used an infectious laugh to punctuate stories and all was genuine and felicitous.

Ms. Gauvin performed a second half of 14 songs, all with impeccable intonation and disparate characterizations that continued the fluency of French song by using her operatic power deftly. Debussy’s Nuit d’etoiles was sung masterfully and the following Mandoline had a jolly character. The rhapsodic Beau Soir was a highlight of the evening, sensuously sung with palpable emotional impact.

Honegger’s set of six songs, Saluste de Bartas, was an upbeat antidote to the more conventional harmonies of the preceding music. Standing out were the interpretations of Le Château du Bartas with its repetitive rhythmic patterns in the piano part and bell-like tones, and the operatic Tout le long de las Baïse where Ms. Gauvin slightly widened her vibrato to accentuate this delicate and mesmerizing song, her voice liking to go high with sotto voce notes.

In Bizet the full palette of Ms. Gauvin’s vocal color was applied to four songs, each individual and passionately sung. Adieux de ‘hôtesse arabe was presented with an undulating line in the piano and a seamless and controlled legato from Ms. Gauvin. Bizet songs with a Spanish flavor (Guitare and Ouvre ton coeur) were alternatively sung coquettishly and with a dissonant Seville flair, in contrast to the lively dance hall taste of the vivacious and exciting La coccinelle. Ms. Gauvin seems to own La coccinelle with abundant facial expressions and connection with her audience and the singing was virtuosic.

Mr. McMahon was a consummate partner the entire evening, his arpeggios smooth and sforzandos dramatic and adding perfectly to Ms. Gauvin’s singing. He seldom had much original to say with his playing and eschewed inner voices, though a singer could not ask for a more dependable pianist.

Two encores in English were offered, beginning with Weill’s “Buddy on the Night Shift” (from the Propaganda Songs of 1944) and a Scottish folk song transcribed by an unnamed Canadian composer (Ms. Gauvin herself? Mr. Hamelin?). Both were idiomatically and stylishly performed and were a delight to the audience, eliciting additional bravas.

Mary Beard contributed to this review.