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 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.