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Symphony
BRANDENBURGS A SPIRITUAL GIFT IN FINAL CHAMBERFEST CONCERT
by Terry McNeill
Sunday, June 28, 2015
“Well, you should have been there.” A trite saying used too often by concertgoers? Sure. But surely it was the appropriate adage for the final Chamberfest concert June 28 in Sonoma State’s Weill Hall. Capping a nine-event series mostly in Schroeder Hall, Jeffrey Kahane led ensembles of up to 20 ...
Recital
TWO EXEMPLARY ORGAN RECITALS HIGHLIGHT CHAMBERFEST
by James Harrod
Sunday, June 28, 2015
Baroque music aficionados and organists were glued to their seats at Chamberfest’s June 27 and 28 when Malcolm Matthews performed two amazingly perfect recitals of Baroque organ music from North Europe of the 16th and 17th centuries. The two prodigious concerts included no less than 17 selections,...
Chamber
INTREPID VIRTUOSITY IN PAREMSKI'S BRAHMS VARIATIONS
by Terry McNeill
Friday, June 26, 2015
Sonoma County organist James Harrod contributed the organ work analysis in this review. Pianist Natasha Paremski had the stellar role June 26 in the third Chamberfest program in Schroeder Hall, beginning with Beethoven’s A Flat Sonata, Op. 110. Classical Sonoma was unable to review the Sonat...
Chamber
STERLING BHAHMS AND BEETHOVEN WITH AN ADDITIONAL B IN JUNE 26 SCHROEDER CONCERT
by Nicki Bell and Sonia Tubridy
Friday, June 26, 2015
Chamberfest’s June 26 evening concert began not with music but with informative and insightful remarks by Festival Artistic Director Jeffrey Kahane. He spoke of Busoni, one of the handful of greatest pianists of the 20th Century, a teacher and composer whose name was linked with Bach through salien...
Chamber
INSPIRATIONAL BEETHOVEN AND BRAHMS HIGHLIGHT SECOND CHAMBERFEST CONCERT
by Sonia Tubridy
Thursday, June 25, 2015
Chamberfest’s second program in Schroeder Hall June 25, extravagantly organized by Jeffrey Kahane, once again gave the audience extraordinary programming and performances, uniting Bach, Beethoven and Brahms in meaningful and thought provoking juxtapositions. In a continuation of choices from Prog...
Chamber
BRAWNY BRAHMS HIGHLIGHTS OPENING CHAMBERFEST PROGRAM IN SCHROEDER
by Terry McNeill
Wednesday, June 24, 2015
Jeffrey Kahane has done it again. After multiple Sonoma County appearances since leaving the Santa Rosa Symphony in 2006, the pianist and conductor has designed a scintillating summer concert series at Sonoma State’s Green Music Center – Chamberfest. The first of nine concerts in a short five-day ...
Opera
SIR JOHN'S VISUAL FEAST IN CINNABAR THEATER FALSTAFF PRODUCTION
by Terry McNeill
Saturday, June 13, 2015
Verdi’s operas tend to have a visceral impact on listeners, the connection forged by emphasizing starkly realistic human emotions and glorious tunes for singers and richly hued orchestra writing. But not in his last opera written in 1893: Falstaff. In only the Italian master's second comedy, Fals...
Symphony
REFRESHMENT FOR OUR SPIRITS
by Sonia Tubridy
Friday, May 08, 2015
On Friday, May 8, Jeffrey Kahane delivered a tour-de-force piano recital at Weill Hall. The program consisted two great sets of variations for piano, Bach's brilliant Goldberg Variations and Beethoven's Opus 109 Sonata, whose third movement offers transcendent variations on a simple theme. Kahane o...
Symphony
SANTA ROSA SYMPHONY MASTERS MAHLER'S THIRD
by Steve Osborn
Sunday, May 03, 2015
Among Romantic symphonists, Mahler is the king of climaxes; he surges from one to the next orgiastically. His third symphony is a perfect example: It begins strong, fades to quietude, resurges to maximum amplitude, and repeats the process. For listeners willing to ride these waves, the experience ca...
Choral and Vocal
ABS CLOSES 26TH SEASON WITH POTENT BACH AND VIVALDI WORKS
by Terry McNeill
Friday, May 01, 2015
In a May 1 program that balanced vocal and instrumental virtuosity the American Bach Soloists closed their 26th season in grand style in Belvedere’s austere St. Stephen’s Church. Led by the indomitable conductor Jeffrey Thomas the first half of the program featured a rarely heard cello concerto, a ...
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.