Home  Reviews  Articles  Calendar  Presenters  Add Event     
Choral and Vocal
EARLY CHRISTMAS SEASON TRIUMPH FOR 24 ANGELS IN WEILL
by Sonia Morse Tubridy
Sunday, November 27, 2016
Weill Hall Nov. 27 was packed with an audience of young and old excitedly waiting for an early holiday concert by the Vienna Boys Choir, and this esteemed Choir is a five-hundred year institution which is based in a school of 100 choristers. Four touring groups divide their time between studying and...
Choral and Vocal
EASTER AND ASCENSION ORATORIOS SOAR IN ABS MARIN CONCERT
by Joanna Bramel Young
Friday, April 22, 2016
Three baroque composers were brought together April 22 at the American Bach Soloists‘ offering of oratorios: Buxtehude, Johann Kuhnau and Bach. In Belvedere’s St. Stephen’s Church the ABS highlighted the sequence of influence for these three masters, displaying stunning choral singing, virtuoso in...
Choral and Vocal
CHANTICLEER SINGS TO THE MOON IN WEILL HALL CONCERT
by Sonia Morse Tubridy
Saturday, April 16, 2016
The renowned male a cappella  Chanticleer choir presented an "Over the Moon" program April 15 at the Green Music Centers Weill Hall.  The audience, including many choral music cognoscenti, was entranced by a varied and enriching program spanning centuries and continents. The theme of the evening was...
Choral and Vocal
RUTTER REQUIEM PERFORMANCE ENNOBLES GOOD FRIDAY CONCERT AT INCARNATION
by Terry McNeill
Friday, March 25, 2016
There is a lot to like in John Rutter’s Requiem. Composed in 1985, it’s arguably the most performed large choral work of recent times, and it was a labor of love for choral director Carol Menke’s musicians in a memorable Good Friday concert in Santa Rosa’s Church of the Incarnation. Splendid Requi...
Choral and Vocal
SEAMLESS ENSEMBLE AT MENKE-THOMPSON-ZAJAC CONCERT IN SCHROEDER
by Christa Durand
Sunday, March 13, 2016
Those who braved the storm March 13 to attend diva Carol Menke’s recital in the intimate Schroeder Hall were rewarded with a warm program of chamber music for voice, clarinet and piano.  Brahms’ E-Flat Clarinet Sonata, Op. 120, No. 2, opened the concert.  The interplay and communication between pia...
Choral and Vocal
HANDEL A FEAST AT ABS BELVEDERE CONCERT
by Joanna Bramel Young
Friday, February 26, 2016
American Bach Soloists (ABS) once again enchanted a full house in Belvedere’s St. Stephen’s Church February 26 with an exciting, varied, virtuosic performance, this concert offering works solely by Handel. Germany-born Handel made his way to England after an extended stay in Italy, where he was ...
Choral and Vocal
NEW ABS MARIN SEASON A BACH FEAST
by Joanna Bramel Young
Friday, January 22, 2016
Playing to a full house Jan. 22 at St. Stephen’s Church in Belvedere, the American Bach Soloists launched its twenty-seventh season with a program of four Bach Favorites - two delectable instrumental compositions sandwiched between a pair of cantatas that ABS had performed in its very first concert....
Choral and Vocal
MEDITATIONS ON THE ARTIST
by Mark Kratz
Sunday, January 17, 2016
Schroeder Hall's vocal recital Jan. 17 centered on the life of the artist, and tenor Nicholas Phan described the recital as “meditations on the artist” that highlighted the concepts of hypersensitivity and a sense of child-like wonder that many artists experience. The entire first half of the rec...
Choral and Vocal
MAGNIFICENT BACH CHRISTMAS ORATORIO IN ABS ST. IGNATIUS CONCERT
by Joanna Bramel Young
Saturday, December 12, 2015
The American Bach Soloists presented Dec. 12 a performance of Bach’s Christmas Oratorio in San Francisco’s magnificent St. Ignatius Church. The church, built in 1912 and one of San Francisco’s largest, was nearly filled with legions of appreciative Bach and ABS fans. First heard in 1734 and standi...
Choral and Vocal
A STERLING REQUIEM PERFORMANCE IN TRES
by Terry McNeill
Friday, November 20, 2015
Mounting a production of the Mozart D Minor Requiem (K. 626) poses difficulties absent from the usual 50-plus minute performance time. Historical questions abound concerning authorship, placement of musical sections and even the murky commissioning process. Director Bob Worth moved to solve these ...
CHORAL AND VOCAL REVIEW
St. Cecilia Choir & Cantiamo Sonoma with the Incarnation Orchestra / Friday, April 10, 2009
Conductor: J. Karla Lemon
Soloists: Carol Menke, soprano; Christopher Fritzsche, alto; Kevin Baum, tenor; Tom Hart, bass

GOOD FRIDAY GETS BETTER WITH HAYDN MASS

by Steve Osborn
Friday, April 10, 2009

Franz Joseph Haydn was not quite as prolific with masses as with symphonies, but he did he write 14 of the former nonetheless. For their annual Good Friday concert on April 10, the St. Cecilia Choir joined forces with Cantiamo, the Incarnation Orchestra, four soloists and conductor J. Karla Lemon to perform No. 12, the Theresienmesse, in the Church of the Incarnation in Santa Rosa.

The crowded conditions around the altar were more than reflected in the church itself, where ushers had to squeeze at least seven people into pews that normally hold only five or six. The oversold house only added to the festive atmosphere and to the close connection many in the audience felt to their hometown choirs, soloists and orchestra.

The program notes provided no history of the mass itself, so a little bit may be in order here. Late in his life, Haydn was commissioned to write a series of masses for the annual name’s day celebration of Princess Maria Hermengild, the wife of Haydn’s longtime employer, Nikolaus Esterhazy. Haydn wrote six, including four in B flat major, probably because B flat was the highest note he expected of the sopranos.

The Theresienmesse, one of the four B-flatters, was named for Maria Theresa of the Two Sicilies, the Austrian emperor’s wife. She also happened to be a soprano soloist who sang in Haydn’s oratorios, but it’s unclear if she was the soloist in the original performance of the Theresienmesse in 1799. What is clear is that the soprano part is one of Haydn’s loveliest, filled with ravishing runs and sprightly rhythms.

The same could be said for the other solo parts, and for the choral writing itself, which is every bit the equal of the soloists throughout the mass. The whole mass, in fact, is so joyous and infectious that it’s hard to imagine it inhabiting the same space as a droning sermon.

No sermon was in evidence at this performance, other than an apologetic announcement for the need to squeeze more souls into the pews. The completely packed church resembled steerage on an 18th-century sailing vessel, with the church’s beautiful struts and beams looking for all the world like the ribbing of a ship, and with the traffic noise coming through the open doors and windows serving as the ocean.

The captain of the craft, Maestra Lemon, kept a steady hand on the helm. She is a bilaterally symmetric conductor, given to extending both arms at full length, planting her feet on the ground, and swaying at the waist. Her tempi were brisk but not hurried, her cues precise, her control of dynamics exemplary. Conducting from the floor, without a podium, she had no trouble gaining everyone’s attention, even from choristers whose heads are normally buried in their scores.

Singing against a purple backdrop of a stylized crown of thorns, the combined choirs showed strength in the opening Kyrie and kept getting better. The sopranos and tenors hit their high notes with ease, and the basses and altos offered solid counterpoint.

The soloists — soprano Carol Menke, alto Chris Fritzsche, tenor Kevin Baum and bass Tom Hart — got to shine in the Gloria, particularly in the “Domine Deus” section, where their well-rounded voices blended seamlessly. They filled the church with glorious sound, hampered only by the somewhat muffled acoustics at the upper end.

Lemon propelled the dance-like Credo through its paces, drawing good articulation from the choir and a full dynamic range from the small orchestra. The lilting 6/8 rhythms of the outer sections made for a strong contrast to the quietude of the middle, where the soloists sing of Christ’s crucifixion.

By the time the Sanctus, Benedictus and Agnus Dei rolled around, the assembled forces had fully gelled and seemed capable of far more than a 45-minute mass. Sadly, encores were not to be, even though the audience kept clapping after the soloists and choir had left the altar. Perhaps the next Good Friday concert could include some appropriate orchestral music in addition to the requisite mass.