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Recital
STELLAR TRIO PLAYS ICONIC CHAMBER WORKS IN WEILL HALL CONCERT
by Terry McNeill
Sunday, April 19, 2015
Virtuoso instrumentalists frequently get together in a trio for a few concerts with the resulting playing being exciting but the performance sounding a little unfinished. This was decidedly not what happened with the Mutter-Bronfman-Harrell Trio April 19 in Weill, as the two works on the program ha...
Symphony
LUMINOUS SOUND IN SF SYMPHONY WEILL HALL CONCERT
by Terry McNeill
Thursday, April 16, 2015
Though the Santa Rosa Symphony is the Green Music Center’s resident orchestra, when the San Francisco Symphony plays Weill Hall they take total artistic ownership. In the penultimate of the four annual Bay Area run outs the SFS played a compelling program April 16 of four masterworks with flawless ...
Symphony
WARM RAMADANOFF FAREWELL IN VSO'S MARE ISLAND CONCERT
by Elizabeth Warnimont
Sunday, April 12, 2015
Vallejo bid a fond farewell April 12 to a pillar of the arts community in a concert on Vallejo's Mare Island, as David Ramadanoff directed the Vallejo Symphony in his last concert as conductor. A polite but somber mood hung over Lander hall Sunday and was as pronounced as the notes produced by the ...
Symphony
CONCERTO KÖLN DELIGHTS WITH RARELY-HEARD BAROQUE WORKS
by Joanna Bramel Young
Saturday, April 11, 2015
Weill Hall resonated April 11 with an agreeable group of Baroque works not often heard, though the composers are in fact well known. This assured, skilled plumbing of quiet corners of the repertoire is the specialty of Concerto Köln, based in Cologne, Germany, but received with pleasure throughout t...
Chamber
ANGLO BRITISH MUSIC AT OAKMONT VIOLIN RECITAL
by Terry McNeill
Thursday, April 09, 2015
In a balanced Music at Oakmont recital April 9 violinist Elena Urioste played an animated program featuring British and American composers, but with some compositional surprises. The first came with Paul Schoenfield’s Four Souvenirs, a suite of four pieces that combined several dance forms that wer...
Chamber
AUTUMNAL MAHLER SONGS BY VON STADE IN WEILL HALL CONCERT
by Mary Beard
Sunday, March 29, 2015
Sonoma State’s Music Department sponsored a farewell concert in Weill Hall March 29 for the Trio Adriadne, artists-in-residence for the last two years. Combining with the Trio (Carol McGonnell, clarinet; cellist Sæunn Thorsteinsdótter; pianist Elizabeth Joy Roe) was the Argento Chamber Ensemble, di...
Symphony
HARMONIC CONVERGENCE IN PHILHARMONIC CONCERT
by Terry McNeill
Saturday, March 28, 2015
Concluding a stellar season March 28 in the Santa Rosa High School Auditorium the Sonoma County Philharmonic played a concert rich in orchestral symmetry, mixed with a piquant flute concerto. The symmetry began with the afternoon’s initial work, Carlos Escalante Macaya’s five-part “Ineluctble…El Ti...
Symphony
FASTER THAN A SPEEDING BULLET
by Steve Osborn
Friday, March 27, 2015
Look! Up in the sky! It's a bird. It's a plane. It's Gil Shaham-man, the superhuman violinist! He's faster than a speeding bullet! If you long to zoom around a speedway at 200-plus miles per hour but can't afford a race car, Gil Shaham can replicate the experience for you on his violin. In his Marc...
Chamber
"DR. DOROTHY" CHARMS CAS ORGAN RECITAL AUDIENCE
by James Harrod
Sunday, March 22, 2015
The silver clad dancing feet of organist Dorothy Young Riess brought excitement and inspiration to organ enthusiasts March 22 at Resurrection Santa Rosa’s Resurrection Church. Standing tall and straight, poised and beautiful, in sparkling silver and black attire, this 84-year old virtuoso musician, ...
Symphony
RAVISHING RUSSIAN MUSIC AND SOLOIST BURNISH SRS CONCERT IN WEILL
by Terry McNeill
Saturday, March 21, 2015
It’s rare in a symphony concert, even one with many surprises, that a soloist takes on two disparate concertos with mostly identical results. But it was exactly the outcome of pianist Olga Kern’s appearance March 21 with the Santa Rosa Symphony in Weill Hall. Surprises? The first came with her po...
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.