Home  Reviews  Articles  Calendar  Presenters  Add Event     
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
San Francisco Symphony / Thursday, September 12, 2013
Michael Tilson Thomas, conductor. Yefim Bronfman, piano

Michael Tilson Thomas' Curtain Call in Weill Sept. 12

CHALLENGING WORKS FROM A POWERHOUSE ORCHESTRA

by Terry McNeill
Thursday, September 12, 2013

Launching the first fall season concert in Weill Hall, the San Francisco Symphony played a peculiarly challenging program Sept. 12 to an audience that was happy to encounter more than just the popular Tchaikovsky B Flat Piano Concerto.

"Challenging" was the operative word for the Third Prokofiev Symphony, a work from 1928 that has few current podium champions. One conductor who loves the work is Michael Tilson Thomas, and he drew an inspired and brilliant performance from his orchestra. This is a corrosive piece, not as easily assimilated as the composer’s First and Fifth Symphonies, and the audience of 1,100 seemed dazed at the initial clangor and dissonance of the opening Moderato. Mr. Thomas adopted a quick march-like tempo, and balances were critical, as the piece needs sonic space and careful baton control to convey the prevailing mood of unrest. Brass and tympani playing were terrific, and a lonely note from bassoonist Stephen Paulson ended the movement.

A bucolic Andante led into the third movement’s intricate string passages, the long first section sans winds or brass. The scintillating playing brought the music to a caricature of a high-level film score. There were virtuoso brass, flute and piccolo solos throughout.

Mr. Thomas drove the finale like a determined massive machine, plodding at first and really pretty grim until ending with heavy percussion blows and blaring but crystal-clear brass. The applause was strong but not overwhelming, perhaps more in admiration for the orchestra’s sonic achievement than appreciation of the complicated and demanding music.

Tchaikovsky’s Op. 23 Concerto, with Israeli-American pianist Yefim Bronfman, concluded the first half. As in Mr. Bronfman’s Beethoven concerto performance last season with the same orchestra, the playing was replete hallmarks of his artistry--secure scales, a strong left hand and octaves that never failed him in a concerto crammed with fast two-hand octave passages. But as in his first Weill Hall performance, Mr. Bronfman brought little that was individual in his interpretation, and his habit of half-pedaling descending runs hampered clarity. Solos from clarinetist Carey Bell and flutist Tim Say were splendid, as was beautiful oboe playing from acting Principal Jonathan Fischer

Though Mr. Bronfman had the requisite power for the Concerto, the acoustics in the wonderful Weill Hall favor a big orchestra, and one wonders if even the most orchestral of pianists--powerhouses like Horowitz, Hofmann and even Anton Rubinstein--could be clearly heard in fortissimo passages over Mr. Thomas’ resounding orchestra.

The concert opened with Canadian composer Zosha Di Castri's 12-minute exploration of eerie sound, Lineage (2013). Written for Miami’s New World Symphony and the San Francisco Symphony, the piece is a mournful and haunting set of recurring small themes, flitting about with sharp contrasting passages. Ms. Di Castri, in the audience and greeted by the conductor at the work’s conclusion, asks for a large orchestra to produce a ghostly tapestry of sound, and I counted five percussionists (with loud bells, chimes, and marimba), piano and celesta. It was daring music in its whirling and spooky way, a highlight of the evening, and received a glorious performance and a happily intrigued audience reaction. Lineage is a colorful candidate for entering the San Francisco Symphony’s repertoire.

Though the hall’s galleries were full, many orchestra-level seats were conspicuously empty at this concert, perhaps reflecting the husky ticket prices for prime seats.