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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
CHORAL AND VOCAL REVIEW
Mastercard Performance Series / Sunday, December 10, 2017
Philmaronia Baroque Orchestra. Nicholas McGegan, conductor. Yulia Van Doren, soprano; Diana Moore, alto; James Reese, tenor; Philip Cutlip, baritone

Philharmonia Baroque Orchestra

A SEASONAL MESSIAH WITH BALANCE AND HEFT

by Terry McNeill
Sunday, December 10, 2017

The mid-December concert season seems for jaded reviewers to invariably include a Messiah performance, and perhaps a Messiah in a long string of similar and mundane performances. This was decidedly not the case when San Francisco’s Philharmonia Baroque mounted Handel’s eminent three-part 1742 Oratorio Dec. 10.

Before a Weill Hall audience of 1,000 conductor Nicholas McGegan fashioned an historically accurate and balanced Messiah reading that gave equal weight to the 24-personal chorus, the 31-person orchestra and four sterling soloists: soprano Yulia Van Doren, alto Diana Morre, tenor James Reese and baritone Philip Cutlip.

Part one developed over 51 minutes into a lovely panoply of complimentary sections, beginning with Mr. Reese’s lyrical tenor and six chorus only sections. Highlights of the latter were “For Us a Child is Born,” the “He Shall Feed His Flock Like a Shepherd” duet of Ms. Morre and Ms. Van Doren, and the rich non-vibrato violins. Hanneke van Proosdij played throughout a small electric organ, similar to the one used by the American Bach Soloists, and as a continuo it reinforced the cello and bass (stage left) musical lines.

In fast virtuoso runs Ms. Van Doren sung with clear diction and agility, seemingly enticing Mr. McGegan three times to turn towards her from the podium with an admiring smile. Ms. Morre’s sonority was rich in the low register, and Mr. Cutlip showed a vocal “shake” and an expressive melisma in the section “For Behold, Darkness Shall Cover the Earth.”

After a half hour intermission Part two was much of a lament with the conductor controlling crisp attacks and releases. The music never seemed too fast and Mr. McGegan adroitly made subtle tempo changes throughout the Part. The two Baroque oboes and two bassoons could seldom be heard in the sonic texture, but if omitted something of richness would be lost. Part two is even longer than Part one, and following the concluding Hallelujah Chorus a number of the audience were seen leaving the Hall. In this Chorus the custom of audience standing (as King George II is said to have stood) was observed, but modern scholarship has pointed to the monarch not rising to the music, and possibly he never attended a Messiah performance. Two Baroque trumpeters and a timpanist added their pungent sound to the mix, and this carried over to the concluding Part three.

In the finale Ms. Van Doren’s great aria “I Know That My Redeemer Liveth” had clarion power, and in an odd way reminded me of Purcell’s “Dido’s Lament” sung in Weill a month earlier by Les Artes Florissants, but needing of course greater projection and vocal heft. Kathryn Adduci’s trumpet playing added wonderfully to Mr. Cutlip’s extended and triumphal aria “Behold, I Tell You a Mystery.” Here deceptive cadenzas led to many repeats and a duo of cellist Paul Hale and Mr. Van Proosdij. Equally captivating was Mr. Reese and Ms. Van Doren singing “O Death, Where Is They Sting?”

Mozart must have known the last part of the Messiah, as the great fugue in the fourth movement of his “Jupiter” Symphony reflects the power and ferocity of the last ten minutes of Handel’s soprano aria (“If God Be For Us”) and two choruses. The driving rhythms were expertly managed by Mr. McGegan, bringing a brilliant end to a work that belongs to each holiday season and to the ages.

A standing ovation produced three curtain calls and individual recognition by the conductor of the concertmaster Carla Moore (and ultimately her section) and the trumpets.