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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
Santa Rosa Symphony / Sunday, February 12, 2017
Bruno Ferrandis, conductor. Alessio Bax, piano

Pianist Alessio Box

WHAT SOUND DO STAR-CROSSED LOVERS MAKE?

by Steve Osborn
Sunday, February 12, 2017

Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monumental B-Flat Second Piano Concerto, Op. 83, with soloist Alessio Bax.

Mr. Bax is a no-frills pianist who sits ramrod straight with his head bent over the keyboard. No skyward gazes or expressive swaying for him: just the keys and the pedals. Given his diminutive frame, he doesn’t seem like he could generate much volume with his restrained approach--but appearances are deceiving. After a lengthy warm-up, he displayed as much thunder and amplitude as the best of them, along with an exceedingly soft touch.

It often takes soloists and orchestras a few measures to warm up to each other before they start playing music instead of notes. In this case, the warm-up extended for two movements. Bax, conductor Bruno Ferrandis and the orchestra didn’t really connect until the gorgeous Andante of the third movement.

Part of the problem was Mr. Bax’s insistent use of the damper pedal, which blends notes together into a smooth veneer instead of bringing out their contrasts. The result was too much legato and not enough staccato or resonance. Bax’s technique was flawless, and he played all the notes, but he seemed distant from the other musicians on the stage.

That all changed in the Andante, one of the most heartfelt in the repertoire. Principal cellist Adelle-Akiko Kearns opened with a beautifully sustained solo that traversed the orchestra and ended up with Mr. Bax, who entered with a touch so light and responsive that his fingers barely glanced the keys. The ring finally fit the finger, and the ensuing interplay with the orchestra was as restful and becalmed as a warm embrace. Goose bumps were the order of the day. The unusual fourth movement was just as good, leading to a well-deserved standing ovation.

Berlioz and Prokofiev offered a different take on musical romance, the first too short and the second too long. Before the Brahms concerto, the orchestra played only the introduction to Berlioz’s rarely heard “Romeo and Juliet,” a self-described “dramatic symphony” about the ill-fated couple. In contrast, the second half featured not one but two suites from Prokofiev’s ballet of the same name--14 pieces in all. The second suite is by far the more dramatic and would have made an ideal mate for more selections from the Berlioz.

As it was, the Berlioz score from 1839 simply whetted the appetite for more. The furious string work mimicking the feuding Montagues and Capulets gave way to authoritative playing from the horns and trombones to herald the arrival of the duke. The sound reverberated throughout the hall, followed by a pianissimo exit from the strings. The story was over before it began.

Not so with the Prokofiev suites, which carry Romeo and Juliet all the way from their first meeting to their untimely demise in the tomb. The first suite consists mostly of incidental dances from the ballet, but the second clearly reflects the story. You can almost close your eyes and see the dancers before you.

Of particular note was the Montagues and Capulets scene at the beginning of the second suite, which covers the same dramatic ground as the Berlioz. The orchestra’s sound was impressive at all levels, each section holding its own in a battle of fortissimos. On the flip side, the subsequent “Young Juliet” was hauntingly beautiful, with exceptional playing from the cello and saxophone.

The rest of the suite was equally superb. Mr. Ferrandis kept a steady rhythm throughout and ratcheted up the intensity as the tragic conclusion loomed ever closer. It was a bravura performance, culminating in a searing rendition of the final scene at Romeo and Juliet’s grave. Happy Valentine’s Day.