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Opera
VERDI'S THEATRICAL LA TRAVIATA TRIUMPHS AT CINNABAR
by Terry McNeill
Sunday, June 19, 2022
Symphony
MARIACHI MEETS ORCHESTRA AT THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, June 12, 2022
Choral and Vocal
RARE MOZART COUPLING COMPLETES SONOMA BACH'S SEASON IN SCHROEDER
by Pamela Hicks Gailey
Saturday, May 28, 2022
EXOTIC RUSSIAN MUSIC FEATURED IN MV PHIL CONCERT
by Abby Wasserman
Thursday, May 19, 2022
Symphony
SANTA ROSA SYMPHONY PREMIERES DAUGHERTY SKETCHES OF SONOMA COUNTY
by Steve Osborn
Sunday, May 8, 2022
Chamber
BRAHMS-ERA TRIOS HIGHLIGHT OAKMONT CHAMBER CONCERT
by Nicholas Xelenis
Thursday, May 5, 2022
Chamber
CHAMBER GEMS OF BRAHMS IN TRIO NAVARRO'S SCHROEDER CONCERT
by Judy Walker
Sunday, May 1, 2022
Recital
UNIQUE ELEGANCE IN GALBRAITH GUITAR RECITAL
by Gary Digman
Friday, April 29, 2022
Symphony
VSO'S ELEGANT PASTORAL SYMPHONY SHINES IN EMPRESS RETURN
by Terry McNeill
Sunday, April 24, 2022
Choral and Vocal
A SPIRITUAL FAURE REQUIEM IN GOOD FRIDAY CANTIAMO CONCERT
by Pamela Hicks Gailey
Friday, April 15, 2022
CHAMBER REVIEW
Creative Arts Series / Sunday, June 2, 2013
Vinaccesi Ensemble: Kirk Eichelberger, Susie Fong, Sarge Gerbode, Nanette McGuiness, Hallie Pridham, Jonathan Smucker and Kindra Scharich

Vinaccesi Ensemble June 2 in Santa Rosa

RARE BAROQUE GEMS IN CREATIVE ARTS SERIES CONCERT

by Joanna Bramel Young
Sunday, June 2, 2013

A small but appreciative June 2 audience heard in Santa Rosa's Resurrection Parish a delightful buffet of baroque vocal and instrumental works performed by the five-year old Vinaccesi Ensemble of Berkeley.

Nanette McGuinness soprano; Kindra Scharich, mezzo soprano; Jonathan Smucker, tenor; and bass Kirk Eichelberger bass joined lutinist/guitarist Adam Cockerham, cellist Hallie Pridham and harpsichordist Susie Fong in the concert of works by Venetian composers. The group is named after a lesser-known composer named Benedetto Vinaccesi who flourished in the late 1600's in Venice. Like Vivaldi, he once was master di coro for the spedaletto - a home for abandoned children in Venice. Very little of Vinaccesi's compositions remain, but his extant works have the charm and sophistication of his more well known contemporariies.

The concert opened with three “Canzonette” and “Madrigaletti” by Salamone Rossi Ebreo, scored for various combinations of voices, with accompaniment by the great six-foot long arch lute, harpsichord and cello. Moving from one passion to another the voices achieved a fine blend, the singers looking at each other at the ends of phrases in order to achieve a perfectly tuned pianissimo.

Next came a Largo from Vivaldi's lute concerto, which Mr. Cockerham played impeccably on his small baroque guitar, with tasteful pizzicato cello accompaniment. On each repeat, the guitarist added elegant and precisely played ornaments, holding the audience in rapt attention. The balance between guitar and cello was exquisite.

This reviewer was pleased with the single movement instrumental interludes between the vocal pieces and they “cleared the palate” for the vocal works to come. Ms. Fong played two movements from Scarlatti harpsichord sonatas, and Ms. Pridham performed a Largo from a Vivaldi cello sonata. It would have been nice to hear more ornamentation from the cello, but otherwise it was sensitively played.

Mr. Eichelberger's long cantata “Distant from his beloved” was one of the most moving works on the program. The Vinaccesi piece-- the story of Mirtillo who is lamenting his dear Amirilli -- is full of feverish love and torment. Mr. Eichelberger has a superb voice, moving effortlessly from high to rock bottom notes in the bass clef. He brought out the dramatic and soulful words of the poetry. Recitatives contrasted with arias which changed mood from phrase to phrase. A coloratura passage would end in a perfectly placed deep low note.

Marcello's Psalm XV (from the King James Bible) was a showpiece for Mr. Smucker. Great emotional ups and downs characterized this lyrical composition. The cello and harpsichord had a very animated accompaniment, with affecting melodies interacting with the voice, In the last verse the cello played a repeating descending scale against the more inventive vocal part. Mr. Smucker has a clear, assured voice capable of evoking every changing emotion.

A cantata by Barbara Strozzi, “Beautiful eyes,” was scored for soprano and mezzo,with many ascending dissonances and intricate interplay between voices. Strozzi's “Hercules in love” was another highlight of the afternoon, sung by Mr. Eichelberger. He captured the poignant humanity of Hercules' torment over his “fickle and treacherous” love.

Monteverdi's “Why do you flee, oh Phyllis?” was a trio for mezzo, tenor and bass with continuo. The intricate intermingling of the vocal lines, rich in harmonies and aching dissonances resolved finally to a satisfying consonance to end the program.