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Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
SYMPHONY REVIEW

College of Marin Orchestra Conductor Tara Flandreau

TWO HALVES WITH A FEW HOLES

by Terry McNeill
Sunday, November 22, 2009

After many decades of attending concerts, a listener (or reviewer) faces a tough decision after hearing a first half that in some way is not a complete artistic whole. Leave early or stay for the promising second part? In almost every case not hearing the music that follows intermission would be a mistake. It was thus at the College of Marin (COM) Symphony Orchestra’s concert Nov. 22 at Unity Church on the old Hamilton Air Force Base.

Just two works comprised the program, the first being the most popular of all piano concertos, Tchaikovsky’s No. 1 in B Flat, Op. 23. COM faculty pianist Paul Smith made a heroic effort as the soloist to make the best of a less-than-ideal set of circumstances. The hall, packed with extra seats in the aisles, was overly bright with a long reverberation. The piano was not of professional caliber, and the orchestra, under the baton of Tara Flandreau, experienced pesky intonation problems and inconsistent brass playing. That said, the first movement unfolded with pliant string sounds, fluent but conventional phrasing from the conductor, and the wonderful clarinet playing of David Treganowen. Mr. Treganowen, along with flutist Bruce Salvisberg and bassoonist Karen Wright, played elegantly all afternoon. Mr. Smith’s cadenza, using a lot of pedal in an attempt to generate sound from the instrument, was in the grand manner if not in the middle of the Russian romantic tradition.

In the Adagio, the orchestra’s persistent covering of the soloist disappeared, and a more satisfying interplay of lines appeared. The long trills from the piano were evenly shaped, and the fetching themes were stated with dignity.

Tchaikovsky’s concluding movement has equitable balances between the piano and orchestra, and Ms. Flandreau was in no hurry to get anywhere. Right up to the famous ascending forte octave passage for piano, the orchestra played well. Mr. Smith made the most of these octaves, using half-pedal and getting as much sound as the instrument would give. He didn’t choose the left-hand octave tremolo at the final tutti. A standing ovation ensued.

Shostakovich’s Fifth Symphony is a daunting prospect for a non-professional orchestra, the technical demands to the last desk heavy and nearly always exposed. But the 1937 work brought a sharply different orchestra than was heard in the Tchaikovsky, the attacks and releases more sure, the strings more resonant. There was more security of pitch for the brass section, and the addition of the accompanying piano and electronic celesta was welcome. In the opening Moderato, the big sound was clear, and the tempo was steady. Piccolo soloist Dawna Stebbins played with penetrating clarity. Virtuosic playing in the second movement came from Ms. Wright and from the pizzicato unisons in the strings.

The long Largo, a precursor to Hovhanness’ “Mysterious Mountain” Symphony, was taken at an overly relaxed tempo, but it also left plenty of time for the counterpoint from Messrs. Salvisberg and Treganowen and the beguiling harp playing of Michelyn French. A threnody, the sad march moved deliberately along, the harp and celesta parts in a duo which echoed much of the composer’s more dissonant and longer Fourth Symphony (1936).

Ms. Flandreau brought to the Allegro non troppo the requisite power, the return of the march theme again having the benefit of precision string playing and the reiteration of the “A” notes in the violins. The tympani solo (Robert Jakubs) was positively militaristic, a sober introduction to the carnage of the finale, where Ms. Flandreau carefully slowed the tempo to the last potent chords, holding the audience breathless.

Shostakovich’s mighty creation always generates a standing ovation, and it received one here.