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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
OPERA REVIEW
Mendocino Music Festival / Friday, July 15, 2016
Festival Orchestra, Alan Pollack, conductor. Directed by Erin Neff. Singers: Phil Meyer (Osmin); Chester Pidduck (Pedrillo); Nikki Einfeld (Konstanze); Molly Phelan (Blonde); Sergio Gonzales (Belmonte)

Molly Phelan (l) and Paul Thompson (r) with Seraglio Cast Curtain Call July 15

ONE-NIGHT STAND AT MMF'S ABDUCTION FROM THE SERAGLIO

by Terry McNeill
Friday, July 15, 2016

Mozart’s Opera “Abduction from the Seraglio” has a long reputation as being tough for singers, and it was with some trepidation that I entered the Mendocino Music Festival’s massive white tent July 15 to hear and see the new production from the 30th season. Not to Worry.

Conducted by Festival Artistic Director Allan Pollack, the three-act work from 1782 was staged with minimal sets and a small cast of six. As in past MMF operas the orchestra was placed behind the sets, and the tent’s direct and non-reverberation sound was fresh and live, though as in Wagner’s Festspielhaus not seeing the conductor and bow movement can seem disconcerting.

Erin Neff directed the production that was sung in the original German with English supertitles positioned in the middle of the set and long intra-aria monologues, also in English. Set lighting and costumes were minimal.

Bass Phil Meyer (Osmin) dominated the first act with antics that bordered on slapstick, with plot twists in the Turkish harem pitting Sergio González (Belmonte) against Pasha Selim (Paul Thompson) and Osmin to rescue ladies captured by ersatz pirates. Mr. Thompson had a commanding deep speaking voice and Mr. Meyer captured throughout the three acts the comic nuances of Osmin’s villainy. His legs had ample spring.

A highlight of Act II, and perhaps the entire opera, was Nikki Einfeld’s (Konstanze) extended aria “Martern Aller Arten” where she nailed the character’s romantically faithful pain and lament, and with the subsequent mundane torture scene brought down the house with loud applause. In these sections of the score Mr. Pollack drew lovely playing from the horns and timpanist Mark Veragge, and a bevy of short solos from of cello (Stephen Harrison), flute (Mindy Rosenfeld) and clarinet (Eric Kritz). In this music one could hear snippets of Mozart (other operas, the “Jupiter” Symphony) that would appear in the following decade, and Mr. Pollack made a deft selection of tempos that elegantly supported the singers.

A foil for both Osmin and Pedrillo (Chester Pidduck) was the lively Molly Phelan, playing Blonde with great panache but with pinched notes in the high treble. The famous quartet, mirroring the duos and arias “Durch Zärtichkeit und Schmeichein” and Welch Ein Geschick,” easily established for the singers and the audience of 600 that devoted and steadfast love would conquer the Pasha’s seduction demands and Osmin’s murderous threats.

Mr. González’s voice on this evening lacked a rich tenor glow but had enough projection to carry to the back of the tent, and Mr. Pedrillo’s big moments during the third act’s midnight scene, when escape for all four is at hand, was both urgent and funny. After the singer’s release from Seraglio captivity the conductor drove the music to a potent conclusion, and then joined Ms. Neff and the cast on stage for an extended ovation.

A common request for Festival listeners is to ask for repeat performances of opera productions, but alas, like in past seasons, this masterly opera was mounted just for one night. The composer surely would have demanded more.