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Recital
FRANCK ORGAN WORKS SUBLIMELY PLAYED BY MANWELL IN CAS RECITAL
by Jim Harrod
Sunday, October 26, 2014
Organist Philip Manwell played a sublime recital of the major organ works of César Franck October 26 at Santa Rosa’s Resurrection Parish. The concert was a delightful treat both for those not acquainted with Franck’s organ music and for the many organists in the audience who have studied the Belgian...
Chamber
A BRUCH SURPRISE IN TRIO'S SCHROEDER CONCERT
by Terry McNeill
Sunday, October 26, 2014
Part of the Trio Navarro’s sterling reputation rests with the rare repertoire they perform. So it was a bit of a surprise Oct. 26 in Schroeder Hall when they programmed popular works by Beethoven and Rachmaninoff. Somehow Max Bruch pieces managed to sneak into the mix. The Bruch in a way stole th...
Symphony
DARK SPIRITS IN SPOOKY ANDERSON AND ROE WEILL PROGRAM
by Sonia Tubridy
Friday, October 24, 2014
The Anderson and Roe piano duo have been a force in the music world for over a decade. Their arrangements and performances present virtuoso abilities and commitment to engaging audiences in the beauty and drama of classical music, juxtaposed with contemporary artists' music of other genres. The conc...
Recital
THREE DISPARATE SONATAS HIGHLIGHT BELL'S SR SYMPHONY BENEFIT IN WELLS
by Nicki Bell
Friday, October 24, 2014
Superstar violinist Joshua Bell and pianist Alessio Bax made the Well Fargo Center their first stop Oct. 24 on their world tour, and it was a scintillating benefit recital for the Santa Rosa Symphony. Mr. Bellʼs virtuosity and musicianship have elicited universal critical praise including swe...
Recital
IMPECCABLE ARTISTIC TASTE IN ANTON NEL SRJC RECITAL
by Terry McNeill
Sunday, October 19, 2014
Reporting on a recital by the Austin-based pianist Anton Nel is a predictably satisfying task. His playing Oct. 19 in SRJC’s Newman Auditorium mirrored a recital on the same stage nearly two years ago and showcased a high level of professionalism and artistry. Beginning with Mozart’s D Major "Dupor...
Symphony
BOUNDLESS BAROQUE ARTISTRY IN LIVE OAK SCHROEDER HALL CONCERT
by Joanna Bramel Young
Sunday, October 19, 2014
On October 19 the Live Oak Baroque Orchestra, directed by baroque violinist Elizabeth Blumenstock, appeared in the first of several concerts it is to present at Schroeder Hall in Sonoma State University’s Green Music Center. The new 250-seat recital space is the perfect venue for chamber music, whi...
Chamber
AUTUMNAL BRAHMS IN WEILL CHAMBER MUSIC CONCERT
by Nicki Bell and Sonia Tubridy
Saturday, October 18, 2014
If you were in Weill Oct. 18 you might have experienced heaven, a Brahms heaven, when New York’s Chamber Music Society of Lincoln Center played an all-Brahms concert in the Hall’s MasterCard Performance series. It was late Brahms which means rich emotional expression and deep and fluid themes. The...
Recital
PIANISM OF SUBSTANCE AND CONTROL
by Terry McNeill
Thursday, October 16, 2014
Israeli pianist Einav Yarden has had several past Sonoma County appearances, but her Oct. 16 Music at Oakmont recital exhibited a new and attractive level of resolute programming, instrumental mastery and impressive musicianship. She played three substantial works, including the opening Second Engl...
Symphony
BEYOND THE GOLDEN GATE
by Terry McNeill
Thursday, October 16, 2014
Three works composed within three years of each other were programmed in the San Francisco Symphony’s concert in Weill Hall on Oct. 16, but each was sharply different. Before a nearly full house, conductor Stéphane Denève opened with Barber’s iconic Adagio for Strings, Op. 11, in a compelling but ...
Symphony
LATE-INNING HEROICS
by Steve Osborn
Sunday, October 12, 2014
Much like a home baseball team that scores the winning run in the bottom of the ninth, the Santa Rosa Symphony saved the best for last in its Sunday afternoon concert on Oct. 12. They led off with a tentative but ultimately captivating reading of Richard Strauss's "Till Eulenspiegel's Merry Pranks,...
SYMPHONY REVIEW
Santa Rosa Symphony / Monday, March 19, 2012
Bruno Ferrandis, conductor. Eroica Trio

Cellist Sara Sant'Ambrogio of the Eroica Trio

AN EROICA PERFORMANCE FULL OF PASSION AND MOMENTUM

by Terry McNeill
Monday, March 19, 2012

Prospects for exciting Santa Rosa Symphony concert on March 19 were all good: three alluring soloists, two primo Beethoven works and John Adams' beguiling symphonic suite "The Chairman Dances." To a full house in the Wells Fargo Center, the program mix spelled success.

The effervescent suite from Adams’ opera "Nixon in China" (1985) was a shrewd opening. The fabric of sound favored the percussion and tympani sections, whose gongs and woodblocks were often used in spicy syncopation. The piano, played by Kymry Esainko, was a major part of the music and could be heard clearly over the orchestra's minimalistic chord patterns. Percussionists Allen Biggs, Susan Jette and Stan Muney were busy with the composer's manifold demands.

Adams' splendid concert piece mixes the weight and glitter of a big pop band with the finesse of a conventional orchestra, and the fusion works resplendently in ways that later Adams fusion works don't. Conductor Bruno Ferrandis' careful stick control was ideal for juxtaposing the wistful sections with the scintillating rhythmic repetitions and iterations.

Beethoven's C Major Concerto for Violin, Piano and Cello, Op. 56, closed the first half, with the Eroica Trio as soloists. The charm of these soloists was not lost on the audience. Clapping was heavy after the first movement, and there was an ovation after the concluding Rondo. Pianist Erika Nikrenz and violinist Susie Park certainly sounded proficient, but they had less than stellar projection. Ms. Nikrenz used a score, but Ms. Park and cellist Sara Sant'Ambrogio played without one, a telling detail as the Trio has given more than 100 public performances of the Triple Concerto. It’s in their blood.

The playing was fluent throughout and congruent with Mr. Ferrandis' conception and tempos. Instrumental handoff of themes and voice leading were flawless and secure. Ms. Sant'Ambrogio adopted a narrow vibrato but played the principal themes with a creamy legato and a sound that carried over her partners. Beethoven's never-ending innovation was on display in the third movement, the soloists passing the motives back and forth with increasing intensity. Although the performance had plasticity, it was on the whole underplayed, elegant but lacking the big sound that some virtuosos can bring to this sporadically programmed work.

The Trio gave an encore, Piazzola's "Oblivion," an enchanting work that is becoming standard repertoire. Ms. Sant'Ambrogio's vibrato widened considerably in the rich tango colors, pairing perfectly with the violin when the latter moved to the final bars with an exquisite upward portamento slide.

The second half consisted of one piece: Beethoven’s Op. 55 Third Symphony (Eroica). Mr. Ferrandis, with a reduced number of musicians, began briskly but not so abruptly as the iconic "two E-flat pistol shots" from the famous Toscanini recordings. The brass section occasionally overpowered the strings in the opening Allegro con brio, but in the Marcia Funebre Mr. Ferrandis coaxed lovely pianissimo playing from the entire orchestra--the best quiet playing of the evening, clear and sensuous. The unison horn solos in the Scherzo (Darby Hinshaw, Meredith Brown, Alex Camphouse, Susanne Chasalow and Henry Viets) were played with refinement and dead-on pitch. The exciting finale spotlighted the strings singing out the powerful theme, with the bass and cello sections deftly adding pizzicato parts. Principal flute Kathleen Reynolds played graceful and polished scale passages.

Mr. Ferrandis has vivid ideas about this seminal symphony, and he balanced vibrant orchestral played with his familiar section control and exuberance. Were the tempos in this genre-changing work too fast? Not for me as Mr. Ferrandis has a magic wand with such tempos. It was an Eroica performance full of passion, clarity and momentum.