Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
THE BALLADE OF JUHO POHJONEN
by Terry McNeill
Sunday, September 14, 2014
Planning a piano program around a single theme or name can be tricky because cutesy connections can easily displace artistic merit. Fortunately, Juho Pohjonen's Sept. 14 recital in the inaugural "Sundays at Schroeder" concert was a textbook example of a successful theme--ballades--supported by wonde...
Chamber
POTENT STUDENT WORKS IN ARIADNE TRIO CONCERT
by Nicki Bell
Sunday, August 24, 2014
On a lovely August 24 afternoon the Trio Ariadne played the seventh of ten concerts inaugurating the opening of SSU’s Schroeder Hall in the Green Music Center. It was part of a celebratory splash to introduce the music community to this little jewel of a hall, the 250-seat capacity and acoustics pe...
Chamber
ACOUSTIC CLARITY AT LAST
by Terry McNeill
Sunday, August 24, 2014
After years of chamber music frustration in Sonoma State University's Ives and Weill halls, the Trio Navarro basked in acoustical clarity Aug. 24 at their debut concert in the university's new Schroeder Hall. The acoustics in Weill before small audiences, and with lush romantic chamber music, made ...
Chamber
FACULTY AND COMMUNITY MUSICIANS JOIN IN SCHROEDER CELEBRATION
by Terry McNeill
Sunday, August 24, 2014
Though many of the inaugural Schroeder Hall concerts had larger audiences than the Aug. 24 faculty and community musician event, few of them had such lovely music on display. Some of the best were first, with ravishing music from SSU guitarist Eric Cabalo and Santa Rosa Symphony violinist Eugenie W...
Chamber
VOCAL PYROTECHNICS LIGHT UP SCHROEDER HALL
by Terry McNeill
Sunday, August 24, 2014
What could end a wildly successful 10-concert inaugural weekend in SSU’s new Schroeder Hall? A resounding concert of manifold brass, organ and voice that turned out by a wide margin to be the overall audience favorite. The long Sunday evening event put on display every piece of Schroeder’s vaunted...
Recital
KAHANE RECITAL HELPS INAUGURATE SCHROEDER HALL
by Terry McNeill
Saturday, August 23, 2014
Jeffrey Kahane returns frequently to Sonoma County in conducting and concerto performance, but rarely in recital. Two past solo events come to mind, a "fantasy" program where the Copland outshone the Schumann and Chopin, and an uneven concert capped by Chopin's F Minor Ballade. A jammed Schroeder ...
Recital
HERE COMES THE ORGAN!
by James Harrod
Saturday, August 23, 2014
The rich sounds of Dutch Renaissance organ flutes, reeds, and mixtures sounded in Sonoma County August 23 when James David Christie inaugurated the new Schroeder Hall pipe organ installation at Sonoma State University. Under the performer’s experienced and sensitive touch, the Brombaugh Opus 9 mech...
Choral and Vocal
A FITTING OPENING FOR SCHROEDER HALL
by Terry McNeill
Saturday, August 23, 2014
A choral concert by the Sonoma Bach Choir was a fitting opening for the new Schroeder Hall at Sonoma State University on Aug. 23. After all, the idea for the Green Music Center came many years ago from Don Green, who at the time was singing in the Bach Choir, conducted then and now by Bob Worth. Th...
Chamber
UBER VIOLISTS AT MUSIC IN THE VINEYARDS
by Steve Osborn
Friday, August 08, 2014
Full disclosure. I'm an amateur--very amateur--violist, so Friday's Music in the Vineyards concert in Napa Valley was of particular interest to me. The program featured two sextets with prominent viola parts; a trio for viola, flute and piano; and the pièce de résistance: a quartet for four violas. ...
Chamber
PIANO SONOMA JAMS IN FINAL WEILL CONCERT
by Terry McNeill
Sunday, August 03, 2014
PianoSonoma concluded its artist-in-residence performances August 3 in a sparkling Weill Hall concert where mostly new music overshadowed conventional fare. Mendelssohn’s popular D Minor Trio began the program in a workmanlike performance that never quite caught fire. Tempos throughout were judici...
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.