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Recital
BACH AND BUXTEHUDE ORGAN MASTERY IN MORGAN'S SCHROEDER RECITAL
by James Harrod
Sunday, January 31, 2016
Stanford University organist Robert Huw Morgan played an exciting and interesting program of Baroque music in Schroeder Hall January 31, performing the entire concert with faultless virtuosity. The recital’s program consisted of both familiar and unfamiliar selections, and his choices were familiar...
Symphony
VSO SEASON FINALE FEATURES COMMANDING CONDUCTING
by Elizabeth Warnimont
Sunday, January 31, 2016
New Zealand conductor Marc Taddei led the Vallejo Symphony Jan. 31 in “The Composer's Muse,” a program that emphasized the uniqueness of each selection, in Vallejo’s Hogan Auditorium. An audience of nearly 350 was the largest in the past two seasons. The concert marks the last of three audition co...
Chamber
SCHUMANN'S INTIMATE CONVERSATIONS IN SCHROEDER
by Sonia Morse Tubridy
Saturday, January 30, 2016
An ensemble of five outstanding musicians from Valley of the Moon Music Festival presented Jan. 30 a program "Schumann The Intimate Conversationalist" program to a rapt and delighted audience in Schroeder Hall. On entering the hall there was on stage the sight of an exquisite Viennese fortepiano ...
Symphony
SOLO AND ENSEMBLE BRASS PEAL POWERFULLY IN SO CO PHIL CONCERT
by Terry McNeill
Sunday, January 24, 2016
Known for its novel programming, the Sonoma County Philharmonic has frequently engaged local soloists, with flutist Kathleen Reynolds and pianists Lauren Xie and Marilyn Thompson coming quickly to mind. In their Jan. 23 concert, featuring German composers, conductor Norman Gamboa united a rare mid 1...
Recital
INSPIRED SCHUBERT IN BRILLIANT HAMELIN RECITAL IN WEILL
by Terry McNeill
Friday, January 22, 2016
In addition his brilliant pianism, Marc-André Hamelin has built a substantial international career by embracing unconventional repertoire and innovative transcriptions. Who else plays Catoire, Hofmann, Chopin-Godowsky, Dukas, Medtner and…Hamelin? So the Canadian’s Jan. 22 Weill Hall recital was a ...
Choral and Vocal
NEW ABS MARIN SEASON A BACH FEAST
by Joanna Bramel Young
Friday, January 22, 2016
Playing to a full house Jan. 22 at St. Stephen’s Church in Belvedere, the American Bach Soloists launched its twenty-seventh season with a program of four Bach Favorites - two delectable instrumental compositions sandwiched between a pair of cantatas that ABS had performed in its very first concert....
Choral and Vocal
MEDITATIONS ON THE ARTIST
by Mark Kratz
Sunday, January 17, 2016
Schroeder Hall's vocal recital Jan. 17 centered on the life of the artist, and tenor Nicholas Phan described the recital as “meditations on the artist” that highlighted the concepts of hypersensitivity and a sense of child-like wonder that many artists experience. The entire first half of the rec...
Chamber
PRIMA TRIO'S COLORFUL MIX AT MILL VALLEY CHAMBER
by Kate Gilpin
Sunday, January 17, 2016
Softly falling rain and a glimpse of rain-green trees through the windows of the Mount Tamalpais Methodist Church was the ideal background for a stunning Mill Valley Chamber Music Society performance Jan. 17. The Prima Trio, a young group comprising transplants from Armenia, Uzbekistan, and Russia...
Chamber
SCINTILLATING SCHUBERT IN WEILL
by Terry McNeill
Saturday, January 16, 2016
Audience members in Weill Jan. 16 that expecting a balanced, albeit conservative chamber music evening received a slight surprise with a scintillating Schubert Trio that upstaged two otherwise splendid works. Schubert a surprise? In the hands of violinist Joseph Swenson, cellist Carter Brey and en...
Recital
SUN'S WARM RECEPTION IN A CHILLY HALL
by Terry McNeill
Sunday, January 10, 2016
Program design for a piano recital is most often a decision to perform a few big sonatas and variations, sometimes by one composer, or a smorgasbord of shorter works. Sophia Sun chose mostly the latter in her local debut recital Jan. 10 before 150 in SRJC’s Newman Auditorium. Sponsored by the Sono...
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.