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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
CHAMBER REVIEW
Green Music Center / Friday, November 10, 2017
Les Artes Florissants

Partial Les Artes Florissants touring troupe in 2015

RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL

by Terry McNeill
Friday, November 10, 2017

Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented.

With such specialized compositions, period performers with commanding authenticity are needed, and with Purcell’s Dido and Aeneas and Charpentier’s Actéon the Les Artes Florissants ensemble from Caen, France, were an ideal match. Before an audience of 400 the seven singers and seven instrumentalists, guided at the harpsichord by founder and director William Christie, gave spirited and authoritative readings of the two lyric operas, composed within six years of each other in the 1680s.

Colorful women’s dresses helped brighten the bare Weill stage and each of the singers moved about the stage and emphasized parts of the dramas. Actéon is a pastorale en musique with an ideal balance between dramatic singing, instrumental ensemble (two violins, viola, gamba, baroque oboe, 12-string lute and harpsichord) and stage action. The movement of the singers and their theatrical facial expressions and shouts lent excitement and sometimes histrionic charm inside the bounds of the restricted performance area.

Charpentier’s libretto is brief: Actéon and his hunting pals separate, and the later finds himself viewing the goddess Diane and her sisters bathing in a bucolic pool with flowers. He hides but is discovered, and the avenging Diane casts a spell that turns Actéon into a stag. He flees but us torn apart by the hunter’s hounds.

Singing Diane was the regal Élodie Fonnard with Reinoud Van Mechelen as Actéon. Both were able to direct their powerful voices to mesh with, at least for Diane, the women giving advice that surrounded her in the forest. Mr. Van Mechelen was particularly persuasive in the complex scene where he turns from man to animal. The unnamed choreographer (Mr. Christie?) designed simple but quite effective gestures and movements that supported the luscious baroque harmonies and repetitive French opera rhythms. There was palpable sadness from Diane’s court over a vengeful and perhaps an unnecessary hero’s death, using rich vocal colors, but it was of minimal duration. A standing ovation followed the final words.

A concert oversight was that no musicians were identified in the printed program, nor were they on the French websites. Mention needs to be made of the gamba player who toiled tirelessly all evening with Mr. Christie in continuo, and the 12-string lutenist that sat in the harpsichord’s case curve and provided non-stop sonic underpinning.

After intermission the more popular and slightly longer Purcell work was heard with the same forces. The sprightly overture was exciting, highlighted by cello and lute duos, and the oboe part could mimic the sounds of subdued brass and a modern clarinet. Odd indeed to my ears. The longer recitatives were supported by the lute and harpsichord lines. In Dido the singing continued to adroitly bring character and shape to the minimal but telling words. Carlo Vistoli (countertenor) had the requisite calculating menace as the sorceress, and the two witches (Maud Gnidzaz and Virginie Thomas) had penetrating snarls, as did the multi-character Renato Dolcini (Aeneas, peripheral participant). Familiar arias such as “Come Away Ye Sailors” and “Ho Ho Ho When Ships Sail Away” were sung with attractive abandon.

A lovely gamba solo introduced the famous Dido’s Lament (When I am Laid In Earth) that was sung with carefully shaped descending whole notes by soprano Lea Desandre, who then slowly strode stage left through the door to her opera doom. Sadness was convincingly conveyed by the upper strings and finally by the chorus, asking that roses as soft ad Dido’s heart be spread on her tomb.

A first in Weill Hall was supertitles, displayed on a forty-foot wide black screen and hung over the choral section behind the stage. The letters, unlike in many local theaters, were large and easily readable, and were faultlessly coordinated with the two mesmerizing productions, the first in impeccable French and the second in mostly recognizable English.