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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

Conductor Bruno Ferrandis

IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY

by Steve Osborn
Sunday, April 8, 2018

In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the human voice, both in person and impersonated.

The in-person voices appeared in Prokofiev’s “Alexander Nevsky” cantata; the impersonated ones in the “Prelude and Liebestod” from Wagner’s “Tristan and Isolde.” The utterly non-vocal electric violin took center stage in John Adams’ “The Dharma at Big Sur.”

Let us begin at the end, a thrilling, blood-quickening and triumphant rendition of the 13th-century Russian prince Alexander Nevsky entering into Pskov after defeating a thundering horde of German knights on a frozen lake. The massive Sonoma State Chorus, supplemented by other local choirs, sang (in Russian), “Russia marched out to mighty battle, Russia overcame the enemy. … Whoever invades, will be killed.” Their diction was precise, their words fully intelligible, their delivery superb. They soared above the mighty orchestral forces assembled below and stole the show.

And what a show it was. “Alexander Nevsky,” composed in 1938, is one of the great film scores, and its narrative drive is fully evident even without its visual counterpart. Conductor Bruno Ferrandis, returning after the lengthy search for his replacement (Francesco Lecce-Chong), turned up the momentum and moved the score briskly forward. The opening section, “Russia beneath the yoke of the Moguls,” was suitably eerie and oppressive, with a four-octave, two-note chord setting the mood.

The choir’s entry in the subsequent “Song of Alexander Nevsky” was strong and precise. The basses rang out, and the sound filled the hall. The song’s final refrain--“Whoever invades Russia, shall be killed”--drove home the cantata and film’s obvious purpose of rousing the Russian citizenry against the Nazis. As the story moved forward, the chorus kept returning to that invocation, singing “Arise, people of Russia!” “Let the enemy perish” and other phrases of that ilk, always with power and conviction.

Meanwhile, the orchestra kept up a furious pace, with standout performances by the brass and memorable sounds from the strings. The famous “Battle on the Ice” was played at a fever pitch, with the string, brass, winds and percussion sections trading phrases with machine-gun rapidity. Ferrandis was as invigorating as ever, jumping around on the podium and swooping his arms like a raptor in flight.

The only disappointment was the solo by mezzo-soprano Jacalyn Kreitzer, who buried herself in the orchestra instead of striding forward on the stage. Admittedly, the solo has a very low range, but it didn’t ring out, although her tone was often lovely.

The musician who did ring out, with the help of plentiful amplification, was the electric-violin soloist, Tracy Silverman, who appeared earlier in “The Dharma at Big Sur.” His instrument sported two additional strings below the low G (lower C and lowest F), a bevy of pickups near the tail, and no acoustic properties. All the sound came out of two speakers on the ground behind him. Amplified instruments conquered pop music long ago, but in the acoustic context of the concert hall, it’s hard to understand their appeal. The sound is unrelentingly harsh and devoid of subtlety, and the upper registers grate on the ears. Thankfully, Silverman did not play his violin at top volume, but he had the potential to drown everybody out.

In contrast to the overbearing violin sound, John Adams’ music was delightful, with shimmering orchestral textures and complex syncopations that sustained interest. For all the intricacy of the orchestral line, however, it mainly functioned as a drone for Silverman’s peregrinations. He displayed excellent technique and strong bowing, but he was often out of tune in the upper reaches of his instrument.

Silverman, who wowed the audience, was more convincing in his encore, a piece by rock legend Carlos Santana. Here Silverman displayed more flexibility and rhythmic intensity, but he diminished the performance by recording what he was playing and then using the recording as background for further improvisations. It was technically impressive, but it felt like a parlor trick.

The concert opener, on the other hand, was a convincing display of lush acoustics supplemented only by the instruments’ own resonant overtones. “Tristan and Isolde” is about as romantic and tragic as music gets, and Ferrandis evoked both qualities to the hilt. The beginning in the low strings was wonderfully hushed, and the echoing winds were a perfect rejoinder. What was most impressive, however, was the ever-so-gradual crescendo from the haunting opening to the first climactic moment, followed by a long decrescendo and another rise and fall as Tristan dies in Isolde’s arms. You could almost hear them singing.

Reprinted by permission of San Francisco Classical Voice.