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SIX GUITARISTS IN UNIQUE NAPA RECITAL
by Gary Digman
Sunday, July 25, 2021
The first Napa Valley Guitar Festival was held at Napa’s First Presbyterian Church July 25, and featured performances from six classical guitarists. The Church is an iconic structure in downtown Napa, its huge white presence dominating the scene, and the white theme continues inside punctuated by be
Chamber
CLARA SCHUMANN TRIO COMMANDS VOM CHAMBER MUSIC CONCERT AT HANNA
by Terry McNeill
Saturday, July 24, 2021
The Valley of the Moon Chamber Music Series has begun several virtual and a few live concerts in its new seventh season, some broadcast from Sonoma’s Hanna Center Hall and some in posh local venues. July 24’s video had a small live audience and a well-produced video program of three works. Titled “
Chamber
EXEMPLARY QUARTET PLAYING IN MENDO FESTIVAL FT. BRAGG CONCERT
by Terry McNeill
Wednesday, July 21, 2021
Faced with the impossibility of presenting concerts in the iconic large white tent on the bluff, the Mendocino Music Festival opted to use Ft. Bragg’s Cotton Auditorium for ten events in the abbreviated 35th season. San Francisco’s Alexander String Quartet played July 21 to a fully masked audience
Chamber
ECLECTIC PROGRAMMING AT PIANOSONOMA CONCERT IN SCHROEDER HALL
by Pamela Hicks Gailey
Tuesday, July 20, 2021
After a dark year bereft of live performance, pianoSonoma launched July 20 the first Vino & Vibrato concert of the 2021 season in Sonoma State's Schroeder Hall, albeit sadly senza vino due to Covid protocols. Three exceptional musicians showered the audience with an interesting variety of pia
Chamber
RARELY-PLAYED SCHUMANN HIGHLIGHTS HEALDSBURG RECITAL
by Terry McNeill
Saturday, July 10, 2021
Brave New Music sporadically produces concerts in and around Healdsburg, and July 10’s violin recital in downtown St. Paul’s Church must have been one of the first post-lockdown, post-be-extra-careful classical music concerts in Sonoma County's summer season. New Music Founder Gary McLaughlin with
Chamber
ECHOS ON A WARM SUMMER NIGHT
by Abby Wasserman
Saturday, July 10, 2021
ECHO Chamber Orchestra’s first concert in a year and a half, “A Musical Promenade,” was a promenade indeed. When patrons arrived at San Anselmo’s First Presbyterian Church for the 6:00 performance July 10, they were funneled through the garden to the Duncan Hall patio, where folding chairs were set
Chamber
LONG DISTANCE LOVE BEGINS VOM SUMMER FESTIVAL
by Pamela Hicks Gailey
Thursday, June 24, 2021
The Valley of the Moon Music Festival offered a 7th season preview June 24 with a stunning online concert, aptly named Long Distance Love, featuring inspired performances of Beethoven's short song cycle An die ferne Geliebte,, and selections from Brahms’ beloved Liebeslieder Wal
Recital
ROMERO'S ARTISTRY IN SLV RECITAL PROGRAMMING AND PERFORMANCE
by Terry McNeill
Wednesday, June 2, 2021
Gustavo Romero has been an admired visitor to North Bay stages, playing over a decade recitals at Dominican University, the Music at Oakmont concerts and at the Spring Lake Village Concert Series. He returned June 2 to SLV in a virtual recital, videoed from his home concert hall the University of N
RUBICON'S VIRTUAL CONCERT A MALANGE OF CONTRASTS
by Terry McNeill
Sunday, May 16, 2021
The inaugural concert of a new Mendocino County chamber group is a reason for celebration, and the Rubicon Trio made the most of a mixed musical menu during a May16 virtual concert. Presented by the Ukiah Symphony Orchestra as the last in their “Salons with the Symphony” Series, the Rubicon began w
Recital
PIANO VIRTUOSITY IN YAKUSHEV'S REDWOOD ARTS RECITAL
by Nicki Bell
Sunday, May 16, 2021
Russian pianist Ilya Yakushev’s recital for the Redwood Arts Council was perhaps the local season’s virtual music at the greatest distance, as the filming May 16 came from a church in St. Petersburg. And good filming it was, with multiple camera viewpoints of the church, full and split screens and
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, January 7, 2017
Bruno Ferrandis, conductor. Marie-Pierre Langlamet, harp

Harpist Marie-Pierre Langlamet

SYMPHONIC SPLENDOR AND HARP VIRTUOSITY AT SRS CONCERT

by Terry McNeill
Saturday, January 7, 2017

A rainy winter Weill Hall audience of 800 heard the Santa Rosa Symphony Jan. 7 in an eclectic program of four composers including a provocative harp concerto. The music was preceded by manifold stage announcements and somber recognition of SRS musicians that had recently died.

A rollicking performance of Rossini’s ‘Thieving Magpie” overture was a splendid opener, played at a quick tempo and spotlighting snare drum and dramatic percussion effects. All evening an eight-musician percussion section and superb wind playing were showcased by conductor Bruno Ferrandis, and the jaunty overture from 1819 had the requisite flash and verve. I am always struck with how starkly different Rossini’s music was in 1819, when juxtaposed with the prevailing Germanic style of Beethoven, Schubert and Weber

French harpist Marie-Pierre Langlament was the soloist in the Ginastera Concerto, Op. 25, and the instrument brought on stage (hers?) was subtly amplified. The piece is awash in swirling sonic effects, handled with aplomb by Ms. Langlament who must have known the work from youth. Most performances I have heard have had solo playing that was aggressive and often rushed, but Ms. Langlament found elegance in the demanding samba-like rhythms and rapid phrases high in the treble. Nothing was forced or out of balance.

In the lovely Molto Moderato there was fetching playing from the flute (Kathleen Reynolds), clarinet (Roy Zajac), oboe (Laura Reynolds) and bassoonist Carla Wilson, leading into an extended harp cadenza that was played with compelling virtuosity. The driving rhythms and sharp dynamic contrasts of the concluding Vivace were carefully controlled by the conductor and the sonorous excitement produced a standing ovation and two curtain calls.

Returning to the stage after intermission for Debussy’s Danses Sacrée et Profane Ms. Langlament played a different harp, and took a few moments to touch up tuning. The ten-minute bucolic piece for strings was again played with the same secure control and authority that was heard in the Concerto, but with a lush and warm tone and seamless modulations. Mr. Ferrandis is at home with the music and crafted waltzes that were aristocratic as well as sensual.

Ravel’s two big suites from Daphnis et Chloé closed the program in orchestral splendor, making full use of nine percussionists, two harps, xylophone, celesta and with a husky wind machine at the back of the stage. The Suites from the 1912 ballet are often presented with an off-stage choir singing haunting wordless expressions, but Mr. Ferrandis omitted this and the luxurious music had no need of the few seconds of faux artificial wind.

There was nothing affected or omitted about the playing the first Suite, though after several faulty entrances the performance settled down and the conductor skillfully managed the many tempo changes and drew a reading that was at times white hot with excitement. The “Sunrise” opening in the second Suite was luminous, even without the choir, and the Symphony’s winds were stellar. Ms. Reynolds’ beguiling long solo was reminiscent of Vaughan William’s violin solo in the “Lark Ascending,” and Mr. Ferrandis acknowledged standout playing from Stacy Pelinka and Carmen Lemoine (flute and piccolo), Meredith Brown (horn) and trumpeters Scott Macomber and Kale Cumings. The wind playing mastery reached its zenith with a brilliant flute trio playing off the clarinet, bassoon and oboe lines in the Pantomine and Danse Générale sections.

Clearly this was music in Mr. Ferrandis’ French “sweet spot” and his consummate and precision orchestral control was equaled only by his grand interpretative choices.

Robert Hayden contributed to this review.