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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
Recital
AUTHORITATIVE BEETHOVEN SONATA IN KLEIN'S OCCIDENTAL RECITAL
by Terry McNeill
Friday, October 8, 2021
People attending the first Redwood Arts Council Occidental concert in 20 months found a surprise – a luxurious new lobby attached to the Performing Arts Center. It was a welcome bonus to a recital given by pianist Andreas Klein where the music seemed almost as familiar as was the long shuttered hal
Symphony
MOVIE MUSIC ON THE WINDSOR GREEN IN SO CO PHIL SEASON OPENER
by Terry McNeill
Sunday, October 3, 2021
People approaching the Windsor Green bandstand Oct. 3 for the Sonoma County Philharmonic’s season opening concert had some cause for concern. After 18 months of silence would the all-volunteer orchestra have enough musicians for a big movie music program? After all, performers can move, retire, or
Symphony
SANTA ROSA SYMPHONY RETURNS IN TRIUMPH
by Steve Osborn
Sunday, October 3, 2021
It is often the case that a single piece or performer steals the show at a symphony concert, but at the Oct. 3 performance of the Santa Rosa Symphony, the show itself stole the show. The concert opened with a serene 1982 tone poem by Libby Larsen, followed by a masterful performance by soloist Julia
Symphony
TWO WIND SOLOISTS CHARM AT SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, September 26, 2021
The house of music has many rooms. That dusty adage was never truer than when Weill Hall Sept. 25 hosted a roaring New Orleans-style musical party, and less than a day later a mostly sedate Sonoma State University student orchestra performance. Before a crowd of 200 conductor Alexander Kahn led a
Other
CLEARY'S NEW ORLEANS BAND IGNITES PARTY FOR THE GREEN AT SSU
by Terry McNeill
Saturday, September 25, 2021
A dramatic and unique start to the new Green Music’s Center’ 2021-2022 season exploded in a “Party for the Green” Sept. 25, a New Orleans (NO) style commotion featuring Jon Cleary and his Absolute Monster Gentlemen band, inside and outside of Weill Hall. Beginning with a private gourmet dinner in t
GAULIST FLAVOR IN FINAL SF PIANO FESTIVAL CONCERT AT OLD FIRST
by Terry McNeill
Sunday, August 29, 2021
Final summer music festival programs are often a mix of what has come before, with the theme and even a featured composer taking a last stage appearance, with a dramatic wrap up composition. San Francisco’s International Piano Festival defied the norm August 29 with an eclectic French-flavored prog
SPARE DUO PRECEDES MYSTEROUS DUO AT DEN BOER RECITAL
by Terry McNeill
Friday, August 27, 2021
In a departure from usual summer festival fare Julia Den Boer played an August 27 virtual recital in the San Francisco Piano Festival’s 4.5 season with four works, all mostly quiet but all in separate ways insistently demanding of artist and listener. Throughout the 40 minutes there was nary a powe
HARMONIC COMPLEXITY IN PHILLIPS' ALL-GRIFFES RECITAL
by Terry McNeill
Friday, August 20, 2021
Charles Griffes’ piano music is similar to that of Busoni, Reger and even Poulenc, in that there is a sporadic flourish of interest with concerts and scholarly work, then a quick fade into another long period of obscurity. So, it was a delight to have an all-Griffes recital August 20 on the San F
Chamber
ONE PIANO, TWO PIANO, THREE PIANO, FORE
by Terry McNeill
Thursday, July 29, 2021
Schroeder Hall was nearly full July 29 for the final pianoSonoma concert of their season, and presumably the draw and highlight for many of the 150 attending was Bach’s Concerto for Four Pianos. And that performance was probably going to be a North Bay premiere. However, it wasn’t the highl
SYMPHONY REVIEW
Mastercard Performance Series / Saturday, February 14, 2015
Orchestre de la Suisse Romande. Charles Dutoit, conductor. Nikolai Lugansky, piano

Conductor Charles Dutoit

CHAMPAGNE ORGY OF SWISS ORCHESTRA'S SOUND IN WEILL

by Terry McNeill
Saturday, February 14, 2015

Orchestras on tour usually perform hefty display works to showoff their virtuosity and power. And so it was with the Orchestre de la Suisse Romande (OSR) Feb. 14 in Weill Hall. Big works, weighty display. And in a surprise the compositions by Stravinsky and Ravel in the second half did the rare thing of upstaging a popular Rachmaninoff piece with piano.

Debussy’s Ibéria opened the concert and the performance established the OSR as a resplendent ensemble with a charismatic leader. Conductor Charles Dutoit directed in a taught reading where the Spanish flavor of the 1908 tone poem only appeared near the end with the sound of castanets, trombone slides and glowing melodies in the bassoons. and oboes.

Mr. Dutoit has a direct but never extravagant podium style, using the score for each of the four works and conveying cues effortlessly to the 80-person OSR, all clad in black with the men in tails and the women in stylish dresses and pant suits.

The overshadowed item was Rachmaninoff’s Rhapsody on a Theme of Paganini, Op 43, with Mr. Dutoit and pianist Nikolai Lugansky in happy agreement about tempos and phrasing. In many ways it’s a more difficult work to perform than Rachmaninoff’s C and D-Minor Concertos, as many of the variations and tricky rhythms can cause ensemble problems. But here all was in place with the soloist’s sure technical command in evidence in the flashy cadenza of Variation 15 and inimitable playing from the brass. That said, it was a conventional performance with orthodox phrasing and style. Pleasing in every way but a bit prosaic, even at the repeated “Dies Irae” plainchant motifs so familiar with this composer. At the end the audience recalled Mr. Lugansky three times but there was no encore. Concertmaster Bogdan Zvoristeanu played compelling solos as he did throughout the evening

Mr. Dutoit led a concluding half that was a champagne orgy in sound, beginning with Stravinsky’s Song of the Nightingalesuite from his ballet. Here the playing from the entire wind section, especially from flutists Sarah Rumer and Loïe Schneider, was brilliant, and the conductor carefully managed the many short inter-section duos: solo violin and winds, trumpets and strings, harps and celesta.

Sonic splendor continued with a performance of Ravel’s Daphnis and Chloe Suite No. 2, another work extracted from a ballet. The French’s composer’s style, so familiar from the Mother Goose Suite and Impressionist piano works, brought forth gorgeous string playing, and Mr. Dutoit’s command of changes of volume and orchestral texture was faultless. Again solos from the winds were shapely and Mr. Dutoit clearly has this music in his Swiss (and surely Gallic) blood, controlling the knotty Danse Générale with a fluid but precise beat.

I have heard many Weill Hall ovations that have been louder than the one the OSR received, but perhaps none longer. The audience of 1,100 adopted a European-style of approval with stamping feet and continuous applause, and the conductor was called out four times. An encore was not forthcoming and Mr. Dutoit finally waved his hands, signaling that the musicians wanted to finally leave what had been a memorable concert.