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Recital
ECLECTIC PIANISM IN SPRING LAKE VILLAGE VIRTUAL RECITAL
by Terry McNeill
Wednesday, May 5, 2021
During the pandemic The Santa Rosa Symphony’s virtual concerts received their due in performance praise, but another series, Spring Lake Village, more quietly presented monthly virtual concerts to a select local audience. May 5 saw the latest event, produced by impresario Robert Hayden, and feature...
Symphony
SONIC CONTRASTS HIGHLIGHT SANTA ROSA SYMPHONY SPRING PROGRAM
by Terry McNeill
Sunday, April 25, 2021
In a curious mixture of compositions, the Santa Rosa Symphony’s penultimate virtual concert of the season April 25 unfolded in ways both highly satisfying and a bit perplexing. Directed by resident Music Director Francesco Lecce-Chong, the event followed a familiar format – several contemporary wor...
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....
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, February 9, 2013
Bruno Ferrandis, conductor; Roy Zajac, clarinet

Clarinetist Roy Zajac

PLAYING HEARTS: IT'S ZAJAC IN SPADES

by Steve Osborn
Saturday, February 9, 2013

At symphony concerts, soloists need to be both sonically and visually distinctive. For the latter requirement, what better way to sail above a sea of black-jacketed players than to don a jaunty white blazer with black lapels and a black bowtie? That was the approach soloist Roy Zajac took in a memorable Feb. 9 performance of the Mozart Clarinet Concerto with the Santa Rosa Symphony.

By wearing his trademark "Za-jacket,"ť Zajac established his distinction before even playing a note. When the notes did arrive, however, the jacket was as nothing compared to the sonic beauty emerging from the bell of his clarinet. His tone was both liquid and luxurious, each note a perfectly rounded sphere on a string of pearls. His low register was particularly mellow, with occasional deep runs bathing the audience in waves of sound.

Zajac, who normally serves as the Symphony's principal clarinetist, combined the sonic and visual realms by swaying demurely as he played, each motion reflecting a musical phrase. With his feet planted shoulder width apart, he bent at the knees for low notes, swayed right for Mozart's inimitable phrases, and then left for the phrase's echo. You could reconstruct the entirety of the solo line just by watching his ever-changing posture.

And what a solo line it is! The Clarinet Concerto is one of Mozart's greatest compositions, each movement a masterpiece, and the whole even greater than the sum of its parts. In this performance, the opening Allegro was lilting and buoyant, and the closing Rondo up-tempo and joyous. But the most breathtaking movement was the middle Adagio, blessed as it is with some of Mozart's most beautiful melodies. Zajac played these to perfection, coaxing the softest of pianissimos from his instrument and lingering on each passing note. Not even a brief memory lapse could interrupt the flow of this exquisite performance.

Afterward the shy Zajac seemed almost embarrassed by the audience's rousing ovation, and he appeared truly startled when a Symphony staff member presented him with a giant bouquet of yellow roses. With Valentine's Day rapidly approaching, the gesture seemed particularly appropriate. Who couldn't avoid falling in love with a performance such as that?

The rest of the concert, resplendent though it was, stood in Zajac's shadow. The festivities began with the full orchestra, including harp and all manner of imposing percussion and brass, playing Anton Webern's "Passacaglia for Orchestra," Opus 1. As one might expect from an Opus 1, it contained everything but the kitchen sink. Unlike his later austere works, Webern in his youth seemed intent on emulating Mahler and other late Romantics by employing the full forces of the orchestra to create a dense, almost overwhelming, tapestry of sound.

The Passacaglia begins pizzicato and pianissimo, with various sections of the orchestra stating their lines and then fading away. This call-and-response builds up rapidly, however, and soon the entire ensemble is blazing away, only to fade once again and repeat the pattern. The result is a piece that lunges from climax to climax, with little room to breathe.

Despite Webern's youthful excess, Ferrandis and company played the Passacaglia with insight and respect. The various lines were well articulated, and the orchestra combined to make occasional gorgeous sounds. But the Passacaglia can't be more than what it is. No matter what, it's still Opus 1.

In contrast to Webern's Opus 1, Brahms' Third Symphony, Opus 90, is a work of confident maturity and assured artistry, a staple of the symphonic repertoire. It begins majestically and ends with surprising quiescence. In between is some of Brahms' greatest music, most notably the Poco Allegretto third movement, with its distinctive cello line.

The Symphony cellists, urged on by Ferrandis, opened that movement with just the right combination of rhythmic fluidity and silken texture. Their line, eventually picked up by the rest of the orchestra, is really just three notes rising and then three notes falling--simplicity itself. But in the hands of Brahms (and his performers), that six-note motif flowers into a movement of transcendent beauty.

Ferrandis conducted that movement and its predecessors with sweeping gestures that befit his tall frame. His approach changed dramatically in the spirited last movement, where he seemed to get more energy and precision from the players by standing almost still. The more compressed his gestures became, the more results he got. The playing throughout was exemplary, especially from the cellos, who rose as a section at the end of the performance to acknowledge the sustained applause.

[Reprinted by permission of San Francisco Classical Voice.]