Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
THE SHOW MUST GO ON
by Steve Osborn
Sunday, January 9, 2022
The Jan. 9 Santa Rosa Symphony concert was supposed to feature the world premiere of Gabriella Smith’s first symphony, but it ended up featuring another type of premiere: a concert that was conceived, rehearsed and performed in less than eight hours. Symphony staff learned on Sunday morning that so
Choral and Vocal
AN OLD FRIEND RETURNS TO WEILL IN STERLING ABS MESSIAH PERFORMANCE
by Pamela Hicks Gailey
Sunday, December 19, 2021
A tremendous accomplishment by the American Bach Soloists Dec. 19 was near perfect performance of Handel's Messiah in Weill Hall. Long an annual tradition at San Francisco's Grace Cathedral, the ABS took to the road and delivered a Christmas gift of epic proportions to an obviously thrilled and enth
Symphony
SHOSTAKOVICH FIFTH THUNDERS AT WEILL HALL CONCERT
by Terry McNeill
Sunday, December 5, 2021
In a new season marketed as “Classical Reunion,” the Santa Rosa Symphony made a palpable connection with its audience at the early December set of three standing ovation concerts in Weill Hall. The December 5 concert, with 1,000 attending, is reviewed here. Vaughan Williams’ popular Fantasia on a T
Chamber
THE LINCOLN RETURNS WITH CLARKE'S PUNGENT TRIO
by Terry McNeill
Thursday, November 18, 2021
There were many familiar faces Nov. 18 during Music at Oakmont’s initial concert of the season, but perhaps the most necessary were the three musicians of the Lincoln Piano Trio, the Chicago-based group that has performed often in Oakmont since 2006. A smaller than unusual audience in Berger Audito
Symphony
NOSTALGIC BARBER KNOXVILLE AT SO CO PHIL JACKSON THEATER CONCERT
by Terry McNeill
Sunday, November 14, 2021
In their first Jackson Theater appearance of the new season the Sonoma County Philharmonic presented Nov. 14 a program devoid of novelty, but showcasing the “People’s Orchestra” in splendid performance condition after a long COVID-related layoff. Conductor Norman Gamboa drew a committed and boister
Chamber
THRILLING PIANO QUINTETS IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 14, 2021
The Mill Valley Chamber Music Society sprang back to life on November 14 when a stellar ensemble from the Manhattan Chamber Players, a New York-based collective, arrived to perform two piano quintets: Vaughn-Williams’ in C Minor (1903), little known and rarely performed; and Schubert’s in A Major D.
Chamber
MUSCULAR BRAHMS FROM IVES COLLECTIVE IN GLASER
by Terry McNeill
Sunday, November 14, 2021
Leaving SRJC’s Newman Auditorium for the first time in decades, the College’s Chamber Concert Series presented a season-opening concert Nov. 14 in Santa Rosa’s Glaser Center with the four-musician Bay-Area based Ives Collective. The season, the first given since 2020, is dedicated to Series Founder
Symphony
MONUMENTAL BRAHMS SYMPHONY HIGHLIGHTS MARIN SYMPHONY RETURN
by Terry McNeill
Sunday, November 7, 2021
In the waning COVID pandemic the Marin Symphony is one of the last Bay Area orchestras to return to the stage, and they did with considerable fanfare Nov. 7 before 1,200 in Civic Center Auditorium, with resident conductor Alasdair Neale leading a demanding concert of Brahms, Schumann and New York-ba
Symphony
APOLLO'S FIRE LIGHTS UP VIVALDI'S FOUR SEASONS IN WEILL
by Terry McNeill
Saturday, October 30, 2021
Long ago the Canadian violin virtuoso Gil Shaham played a program in Weill Hall of solo Bach, with a visual backdrop of slowly developing visuals, such as a pokey flower opening over four minutes. The Bach was sensational, and some in the audience liked the photos but many found them disconcerting,
Chamber
SPARKLING WIND, STRING, HARP MUSIC AT DEVON HOUSE GARDEN CONCERT
by Abby Wasserman
Saturday, October 9, 2021
Take a mild autumn evening, a garden gazebo with patterned rugs and lit with soft bulbs, shake in a fine chamber ensemble, add a rising new moon, and you have a recipe for the musical delight that violist Elizabeth Prior presented Oct. 9 in her Devon House Garden Concert series. The Marin Terra Li
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, February 16, 2014
Bruno Ferrandis, conductor. Philippe Bianconi, piano

Pianist Philippe Bianconi

VIKING INVASION

by Steve Osborn
Sunday, February 16, 2014

Weill Hall at Sonoma State University was fuller than usual for the Santa Rosa Symphony concert on Sunday afternoon, Feb. 16. One reason may have been the glorious weather, as evidenced by the sun streaming through the hall's clerestory windows. Another may have been the "Sons of the Fjord" program, which featured the enduringly popular Grieg piano concerto and the titanic Sibelius Symphony No. 2.

A third and more definitive reason appeared at the beginning of the show, when the announcer asked a visiting delegation from the Sons of Norway to stand, prompting several dozen people to rise, many of whom appeared to be daughters. As if that weren't enough audience padding, small groups of wind musicians began populating the encircling balconies, leaving only their string cousins and assorted percussion on stage.

The occasion for this musical diaspora was the American premiere of the opening piece, contemporary Norwegian composer Orjan Matre's "Resurgence for Orchestra." Like many modern works, "Resurgence" dwells on the spatial aspect of sound rather than its temporal elements. The piece begins quietly with the strings and percussion on stage, then migrates to a brass band hidden in the wings, and finally to the woodwinds in the balconies.

The effect of all this separation is waves of sound originating at different points and traveling by different paths before reaching the listener's ears. The sounds are resolutely tonal, with an emphasis on minor thirds and a steady beat. In essence, "Resurgence" boils down to a series of chords that differ both harmonically and spatially. The audience responded warmly, beckoning conductor Bruno Ferrandis back for a curtain call, a rare event for a concert opener from the 21st century.

The necessary stage reshuffling for the Grieg piano concerto was punctuated by the descent of sound-absorbing blinds across most of the clerestory windows. The blinds are a key element of Weill Hall's high-tech acoustics, which allow the space to be adjusted for each ensemble, from fully reflective to partially absorbed.

In the case of pianist Philippe Bianconi, the partial absorption made the individual notes more distinct, but not at the expense of a grippingly resonant sound. Under his fingers, the Grieg concerto's famous opening chords rang out, immediately drawing the audience into the hyper-Romantic, 19th century work. Bianconi sat ramrod-straight on the bench, but his arms, wrists and fingers were a model of flexibility and fluidity. He had a crisp, feathery touch, and he lifted his arms frequently in the air.

The performance by both orchestra and soloist was fully engaged, reaching a climax in the opening movement's dreamy cadenza, where Bianconi gracefully elicited the central theme from a thicket of sixteenth notes. The engagement continued in the serene second movement, marked by a beautiful French horn solo. Then came the lively third, where neither Bianconi nor the orchestra seemed daunted by the hurtling speed. In the end, the players generated a huge sound, leading to an immediate standing ovation.

After a sun-drenched intermission, the audience returned for a new century--the 20th--and for a work that continues to sound modern, the Sibelius Symphony No. 2. Sibelius has worn well over the past 100 years, perhaps because he doesn't succumb to predictable outcomes or obvious patterns. His orchestration is distinctive and his structures are continually surprising.

These aspects were on full display in the opening movement, with its assertive opening triplets and its continually building expectations, as figures were handed off from one section of the orchestra to the next. The tension increased along with the sonic density, as one motive bounced off the other, never resolving into a clear path. The resulting music was more like a train of thought than a reassuring narrative.

This introspective quality continued through the ensuing movements, each one displaying a different aspect of Sibelius's mind at work, from the "Tempo andante ma rubato" of the second, to the "Vivacissimo" of the third, to the rollicking Allegro of the conclusion. The playing throughout was exemplary, but inevitably a few moments stood out, including the opening pizzicatos in the second movement, the evocative bassoon solos, and the trumpet's occasional clarion calls.

Ferrandis did a great job of propelling the orchestra through Sibelius's unpredictable psychodrama. They were by turns somber and funereal, then furiously active, nowhere more so than in the agitated beginning of the third movement. Like Sibelius, the orchestra never said the same thing twice. Each moment was distinctive, leading to a shattering climax at the end, with the brass ringing out at top volume.

Reprinted by permission of San Francisco Classical Voice