Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
FRESH AND LIVELY HANDEL ORGAN CONCERTOS IN AGO ARTIST RECITAL
by James Harrod
Sunday, August 21, 2016
Organist Beth Zucchino played a delightful recital of three Handel concertos August 21 at the First Presbyterian Church in Santa Rosa. This was the third in a series of summer Sunday recitals featuring organists of the local chapter of the American Guild of Organists (AGO). The program was three o...
Recital
INSPIRING INTERPRETATIONS IN DE SANTIS ORGAN RECITAL
by James Harrod
Sunday, August 14, 2016
Organist Greg de Santis played a delightful and expertly shaped recital of mostly familiar selections August 14 from the classical organ repertory at the First Presbyterian Church in Santa Rosa. The program opened with Mendelssohn’s C Minor Prelude and Fugue, Opus 37, No 1. The three preludes and ...
Chamber
WILKINSON PERFORMS IN PRESBYTERIAN CHURCH ORGAN RECITAL
by James Harrod
Sunday, August 07, 2016
Organist Cathryn Wilkinson played a delightfully warm and entertaining recital of mostly organ transcriptions August 7 at the First Presbyterian Church of Santa Rosa. The music was happy and cheerful despite the dry church acoustics, and was intelligently and carefully played. The only missing eleme...
Chamber
19TH CENTURY STAR POWER AT VOM MUSIC FESTIVAL
by Terry McNeill
Saturday, July 30, 2016
In the penultimate concert July 30 of the Valley of the Moon Music Festival’s second season, the compositions of Schubert. Rossini and Beethoven were featured in a program titled "Star Power in the 19th Century." Iron Horse Vineyards provided the reception’s wines. Classical Sonoma was unable ...
Chamber
PIANOSONOMA SERIES OPENS WITH ECHT GERMAN ROMANTICISM
by Terry McNeill
Tuesday, July 26, 2016
PianoSonoma’s second season in SSU’s Schroeder Hall began July 26 with a mixed program under the series appellation “Vino & Vibrato.” The set of student workshops and concerts, headed by Juilliard School pianists Jessica and Michael Shinn, puts artists in residence in close contact with Sonoma Coun...
Symphony
BACH'S MIGHTY MASS ENDS MENDOCINO FESTIVAL
by Paula Mulligan
Saturday, July 23, 2016
For the final concert of the Mendocino Music Festival July 23 Alan Pollack conducted the Festival Orchestra and Chorus in just one work, Bach’s B Minor Mass.  The orchestra, much reduced in size to suit the needs of the sparser scoring and the character of the composition’s period, ably supported th...
Chamber
SCHUBERT'S THEMES OF YOUTH AND DEATH AT VOM MUSIC FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 23, 2016
The beautiful new Hanna Boys Center auditorium in Sonoma Valley was the setting for the July 23 concert of the Valley of the Moon (VOM) Music Festival, now in it’s second year. Directors Tanya Tomkins and Eric Zivian have created a Festival of Classical and Romantic repertoire played on period inst...
Other
LATE BEETHOVEN EXPLORED AT MMF CONCERT IN PRESTON HALL
by Paula Mulligan
Thursday, July 21, 2016
The Mendocino Music Festival performance in Preston Hall July 22 was titled “Late Beethoven,” and was the final presentation in the tribute to the composer that was part of this year’s Festival.  Pianist Susan Waterfall has been giving a series of lecture dealing with Beethoven’s life and music, and...
Symphony
HEROISM AND SUBTLETY IN ALL-BEETHOVEN MMF CONCERT
by Paula Mulligan
Wednesday, July 20, 2016
Much of the emphasis of this year’s Mendocino Music Festival has been about Beethoven, and a series of small venue performances with Beethoven lectures by Festival co-director Susan Waterfall preceded the July 20 orchestra performance in the big tent on Mendocino’s main street. From the opening bar...
Chamber
PERIOD INSTRUMENT SOUND AT VOM FESTIVAL'S OPENING CONCERT AT HANNA CENTER
by Terry McNeill
Sunday, July 17, 2016
Every summer music festival has a unique character, and the Valley of the Moon Music Festival in Sonoma has the singular character of stressing period instruments that sound well for mostly period repertoire. In the Festival’s opening concert July 17 this was best in evidence for two Beethoven wor...
SYMPHONY REVIEW
American Philharmonic Sonoma County / Sunday, February 05, 2012
Evan Craves, conductor;
Elena Ulyanova, piano

CRAVES DISPATCHES FLASHY PIECES IN EXCITING APSC CONCERT AT WELLS

by Terry McNeill
Sunday, February 05, 2012

Sonoma County’s insouciant American Philharmonic opened the first of its three spring concerts Feb. 5 with the Corsair Overture of Berlioz, and the work characterized the entire afternoon in the Wells Fargo Center – loud, flashy, trenchant and exciting.

Music Director candidate Evan Craves, formerly the APSC’s concertmaster, conducted largely without score, rare today and especially given the works at hand. It was even rare in the past, though Von Bulow conducted Tristan, Meistersinger and all the Beethoven Symphonies without music, as well and then playing the cycle of Beethoven Piano Sonatas. But now a conductor’s score is usually needed, and Mr. Craves looked at one only during the short Mahler work which appeared second on the program. The Berlioz was given quick a ride of just over nine minutes, the strings playing presto phrases and finally finding their unison footing well into the piece. The full brass section sounded triumphant. Here, and in the program’s final work, Miranda Kincaid’s bassoon playing was exemplary.

A sea change in sound occurred with the following Adagietto movement from Mahler’s Fifth Symphony. A signature piece for Santa Rosa Symphony conductor Corrick Brown in Wells, Mr. Craves’ languorous conception played off the beguiling notes from the harp with rich lower string playing, eliciting a broad vibrato and a shimmering sound. The hall was breathlessly quiet.

Rachmaninoff’s Rhapsody on a Theme of Paganini, Op. 34, concluded the first half with pianist Elena Ulyanova as soloist. The artist has been heard locally before in recitals for Concerts Grand and Robert Hayden’s Oakmont Concerts, and her playing in the lush set of 24 variations was similar to that of past appearances – highly dramatic and underscoring top treble notes and clearly articulating scale passages. Percussive sforzandos abound in Ms. Ulyanova’s conceptions, grabbing a listener’s attention but ultimately sounding affected. The pianist has a lovely pianissimo touch but at times at the quietest levels left-hand notes failed to sound. Perhaps the adage that one can’t play a real pianissimo in a large hall applies. The venerable 18th Variation in D Major (andante cantabile) was surprisingly played simply and with sparse ritards at the two climaxes. Ensemble with Mr. Craves was good.

To the applause of 800 Ms. Ulyanova added an encore, Scarlatti’s Sonata in B, K. 377, with driving momentum and a dry detache touch.

Kurt Erickson’s Toccata for Orchestra opened the second half, Mr. Craves holding the segmented piece together with thematic sections being traded off between strings, brass and winds. The Philharmonic made the best of the minimalist riffs, off-beat accents and entrances. Debra Ortega played the prominent piccolo part and the composer came to the stage to acknowledge the ovation.

A riot of scintillating orchestral sound came with the complete music from Falla’s 1919 ballet El Sombrero de Tres Picos, closing the program with much of the best playing of the afternoon. Again shunning a score, remarkable as the piece has manifold short sections, Mr. Craves drew an intoxicating blend of sonority from the APSC. Outstanding soloists included soprano Jody Benecke in two Flamenco-tinged arias, Nicholas Xenelis' limpid clarinet artistry, tympanist Gabe Sakakeeny, hornist Eric Anderson and Suzanne Eraldi's English horn. The music is crammed with startling effects, ranging from hand claps and raucous castanets to long Andalusian lines in the brass, and the suite sounded shorter than the 24 minutes of playing time, due to the conductor’s diligent control of his resonant musicians.

There was subtlety in the sonic commotion, typical of the entire afternoon’s performance.