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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

Violinist Lin He

JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA

by Terry McNeill
Saturday, January 26, 2019

Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the Sonoma County Philharmonic managed to master the new hall and produced music at their usual high level before 250 people, with a repeat the following afternoon.

Conductor Norman Gamboa drew a warm sound from his orchestra in the Bruch Scottish Fantasy, Op. 46, with violin soloist Lin He. Mr. He’s focused and plangent sound was never large, and recalled the recent poised but not extravagant or high temperature approach of violinist Jennifer Koh with the Marin Symphony. The conductor’s section placement was usual (second violins stage left) but the concert harp was surprisingly positioned next to the cellos, and soloist Cristina Kopriva had a prominent part in the lyrical Bruch.

Acoustics in the Jackson were sharply less reverberant than the Santa Rosa High School hall, but warm and direct with the lip of the balcony much closer to the stage front than at SRHS. This seemed to favor the poetry of the adagio cantabile, ending with Mr. He’s brilliant high e string note. The scherzo’s expressive themes were projected well by Ms. Kopriva and Mr. He, with the latter’s wide vibrato and lovely trills.

Intonation difficulties at the opening of the andante sostenuto and blurring in fast scale passages resolved quickly, and Mr. He played the virtuoso ascending and descending runs and double stops in exemplary fashion. Passages from the five horns were splendid. The finale was lively with Mr. Gamboa in consummate control and Mr. He widening his vibrato and finishing the cadenza with a long and perfectly shaped trill.

Following intermission English hornist Anthony Perry and trumpeter Tom Hyde were the soloists in Copeland’s meditative 11-minute Quiet City, composed in 1941. As usual Mr. Hyde’s conclusive playing was never piercing or shrill, and he swelled on notes to achieve substantial loudness. The unique English horn sound has been in my ears since first hearing it in the introduction to the third act of Tristan und Isolde, and here Mr. Perry beguiling playing was softly effective. Mr. Gamboa drew subtle string playing from the reduced orchestra, and his pacing was generous.

Elgar’s Enigma Variations, Op. 36, concluded the concert in a performance where brass and horn solos were prominent, and splendid playing abounded throughout. Mr. Gamboa was clearly shaping the long thematic line throughout the 14 variations. Fetching individual playing came from clarinetist Nick Xenelis; flutists Emily Reynolds and Valerie White; Miranda Kincaid (bassoon) and in several short solos by violist Robby Morales.

The famous adagio variation (No. 9, “Nimrod”) was played with a light touch and the conductor moved the tempo and shaped a lovely flute phrase. There was only a brief accelerando leading to the finale, and throughout the 33-minute piece Mr. Gamboa never was in any hurry, letting instrument sound ranging from Floyd Reinhart’s tuba part to frequently rumbling strings to shine forth.

The Jackson provided a happy musical home for its new resident orchestra.

Ending the 20th anniversary season will be concerts in Jackson April 6 (7:30) and 7 (2:00) with the main work Prokofiev’s monumental Fifth Symphony in B Flat Major, Op. 100.