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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
SYMPHONY REVIEW

Cecile Licad and Marc Taddei April 15 (JCM Photo)

SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE

by Terry McNeill
Sunday, April 15, 2018

Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season.

In a programming novelty the same pianist, Cecile Licad, played in each of the season’s three concerts, and in this afternoon’s concert the St. Saëns G Minor Concerto, Op. 22, was a featured work. The composer’s C Minor Concerto is arguably a more concise and greater piece, and the showy F Major (“Egyptian”) more sonically extravagant, but the G Minor second concerto never fails to charm audiences. And Ms. Licad did so, playing to loud acclaim from the packed 423-seat theater. But it was a performance that nearly went off the rails at many places, and was artistically lacking refinement and nobility.

Ms. Licad’s solo opening was mundane, at least compared with Mikhail Pletnev’s recent imaginative traversal, but the important interpretive misstep throughout were fast tempos and coarse pianism. The soloist was not a colorist, and the concert piano had a powerful bass register and thin treble that at many times covered the full orchestra sound. I thought I would never write that line in a review – piano covers full orchestra. Perhaps Anton Rubinstein in the 1870s, Hofmann in the 1920s or Horowitz in the 1960s. But Ms. Licad managed to hammer so forcefully that the charm and instrumental lines of the popular St. Saëns were submerged. This was especially apparent in the presto finale where the pianist’s manifold scales were continually blurred, wrong notes crept into the mix and the orchestra seemed to be hanging along for the racehorse ride.

The results were clamorous, and conductor Marc Taddei bears some responsibility for the breakneck speed and sonic mess. But it was an exciting mess, and the standing ovation was quick and long. Ms. Licad returned and played an encore of Chopin’s D Flat Waltz, Op. 64, No. 1 (“Minute”), in a dull reading that lacked elegance and omitted the now popular lilting descending thirds in the penultimate measure.

Perhaps the Empress’ direct, non-reverb acoustics contributed to the Concerto’s disorder, but following an extended intermission Mr. Taddei drew from his Orchestra a splendid reading of Mozart’s last Symphony, the “Jupiter” in C Major, K. 551. Conducting without score, as he did in the concert’s opening Tchaikovsky “Hamlet” Overture, Mr. Taddei adopted brisk tempos but phrases never sounded rushed, and instrumental section balances were exemplary. Attacks and releases were crisp and husky violin projection of themes, always a shortcoming for Northern California community orchestras such as the Sonoma County Philharmonic, here were richly played. The VSO is a professional ensemble.

In the andante cantabile second movement the antiphonal string effects were lovely, as the conductor seats the cellos stage left, gaining low string sonority. Fine horn playing (Margarite Waddell, principal) characterized the third movement, though here top register violin sound seemed to be stretched thin. Principal timpani player John Weeks played a major role in all four movements.

Then came inexorably the final movement of Mozart’s final Symphony, called by the conductor in audience remarks the greatest symphony ever written. The polyphony of the repetitive three and four-note phrases built inexorably, firmly in C major and at a clip swifter than all the preceding. Mr. Taddei took 12 minutes to cover a cosmos of emotion and palpable joy, but he was not in a rush to get anywhere, and took the two forte concluding three-note chords with a perfectly gauged fermata. It was consummate and controlled conducting, and clearly Mozart is close to Mr. Taddei’s artistic center.

Tchaikovsky’s Hamlet from 1888 has strains of the contemporary Overture to Romeo and Juliet and his opera “Eugen Onegin,” and showcased the Vallejo Symphony’s first-cabin wind section and solo oboist Curtis Kidwell. Instrumental contrasts and the composer’s masterful orchestration were deftly presented. A perfect concert opening performance.

Prior to both concert halves Mr. Taddei spoke at length, probably too much length, of a performance the next day in the same Theater of the Mozart Symphony for 800 school children, and plans for the 2018-2019 season. For the first time the Vallejo Symphony will play at least one of their concerts twice (Saturday evening and Sunday afternoon, March 30 and 31) in the Empress, and will feature the spiritual Fauré Requiem and Sibelius’ short but profound final Symphony.