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Choral and Vocal
EARLY CHRISTMAS SEASON TRIUMPH FOR 24 ANGELS IN WEILL
by Sonia Morse Tubridy
Sunday, November 27, 2016
Weill Hall Nov. 27 was packed with an audience of young and old excitedly waiting for an early holiday concert by the Vienna Boys Choir, and this esteemed Choir is a five-hundred year institution which is based in a school of 100 choristers. Four touring groups divide their time between studying and...
Symphony
SENSUAL OPERATIC BON BONS AT SO CO PHIL CONCERT
by Alan Bloom
Saturday, November 19, 2016
Music Director Norman Gamboa never fails to come up with interesting programs for his Sonoma County Philharmonic concerts. It was all opera music for the second concert set of the 2016-2017 season Nov. 19 in the Santa Rosa High School Auditorium. From the romantic opening swells of the Berlioz’ Ov...
Symphony
ORION WEISS TAKES BARTÓK AT THE SPEED OF LIGHT
by Steve Osborn
Sunday, November 06, 2016
Gifted pianists are everywhere these days, but few have the prodigious speed, stamina, and musicality of Orion Weiss. He exhibited all these qualities in a memorable rendition of Béla Bartók’s second piano concerto with the Santa Rosa Symphony Nov. 6 in Weill. Weiss is a no-nonsense pianist. He sea...
Symphony
TADDEI TRIUMPH IN VSO SEASON OPENING CONCERT
by Elizabeth Warnimont
Sunday, October 30, 2016
Vallejo Symphony Orchestra's guest soloist Sara Davis Buechner wowed her audience Oct. 30 in a stellar performance of Prokofiev’s Third Piano Concerto, the second of three pieces comprising the symphony’s season-opening performance in Hogan Auditorium and the debut of its new music director, Marc Ta...
Chamber
TASTY TRIO NAVARRO CONCERT WITH SRS WIND VIRTUOSI
by Terry McNeill
Sunday, October 23, 2016
SSU’s resident Trio Navarro has a long history of presenting diverse programs in the piano trio format, with occasional out-of-area artists joining the mix. This familiar configuration was altered in an Oct. 23 Schroeder Hall concert with the deletion of the violin part and the addition of two ster...
Recital
SOUND AND FURY IN MATSUEV WEILL HALL RECITAL
by Terry McNeill
Saturday, October 22, 2016
A touring virtuoso’s reputation often precedes him or her, and usually that’s a good thing. The reputation of a Renée Fleming or a Yo Yo Ma can guarantee a sold out hall, and possibly a great concert. But not always, and so there was some concern at Russian pianist Denis Matsuev’s Oct. 23 Weill re...
Chamber
TRIO VALTORNA'S JAUNTY EXPLORATIONS AT OAKMONT CONCERT
by Terry McNeill
Thursday, October 20, 2016
New York’s Trio Valtorna came to Music at Oakmont’s Berger Auditorium stage Oct. 20 with three disparate works, and in two of them instrumental sonic continuity was not a main goal. But it was in the second half’s seminal piece, Brahms’ E-Flat Major Trio (Op. 40) for horn, violin and piano, that br...
Recital
ARTISTRY AND AMPLE RELAXED CHARM AT PERLMAN RECITAL IN WEILL
by Terry McNeill
Thursday, October 20, 2016
Itzhak Perlman has fashioned a career that encompasses more than virtuoso violin performance, and includes teaching, narrating musical documentaries, score editing, humanitarian projects, charity events and an often an easy “ah shucks” demeanor that is always beguiling. With pianist Rohan de Silva ...
Recital
MORGAN'S ORGAN VIRTUOSITY SHINES IN ALL BACH RECITAL IN SCHROEDER
by James Harrod
Sunday, October 16, 2016
Robert Huw Morgan, Stanford University’s consummate organist, returned to the Green Music Center’s Schroeder Hall October 16 to play a thrilling recital of great Bach organ music from mostly Bach’s Cöthen period. Professor Morgan’s eclectic program included the Prelude and Fugue in E Flat Major, B...
Symphony
BAROQUE NO MORE IN STIRRING BEETOVEN CONCERT IN WEILL
by Terry McNeill
Saturday, October 15, 2016
Seasoned listeners for Beethoven’s symphonies and concertos know that interpretations can follow contemporary fashion, from the heroic and sonorous grand manner readings of the late 19th and early 20th centuries to the architectural approach after WW II, and even conductor Roger Norrington’s recent ...
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.