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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
POWERHOUSE TANEYEV QUARTET IN TRIO NAVARRO CONCERT
by Sonia Tubridy
Sunday, February 18, 2018
Now in their 26th year of presenting chamber music as artists in residence at Sonoma State University, members of the Navarro Trio have performed, over the years, piano trios both famous and rarely performed, including many contemporary works. Mozart’s Piano Quartet in G Minor, K. 478 opened the Fe...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
CHAMBER REVIEW
Creative Arts Series / Sunday, June 02, 2013
Vinaccesi Ensemble: Kirk Eichelberger, Susie Fong, Sarge Gerbode, Nanette McGuiness, Hallie Pridham, Jonathan Smucker and Kindra Scharich

Vinaccesi Ensemble June 2 in Santa Rosa

RARE BAROQUE GEMS IN CREATIVE ARTS SERIES CONCERT

by Joanna Bramel Young
Sunday, June 02, 2013

A small but appreciative June 2 audience heard in Santa Rosa's Resurrection Parish a delightful buffet of baroque vocal and instrumental works performed by the five-year old Vinaccesi Ensemble of Berkeley.

Nanette McGuinness soprano; Kindra Scharich, mezzo soprano; Jonathan Smucker, tenor; and bass Kirk Eichelberger bass joined lutinist/guitarist Adam Cockerham, cellist Hallie Pridham and harpsichordist Susie Fong in the concert of works by Venetian composers. The group is named after a lesser-known composer named Benedetto Vinaccesi who flourished in the late 1600's in Venice. Like Vivaldi, he once was master di coro for the spedaletto - a home for abandoned children in Venice. Very little of Vinaccesi's compositions remain, but his extant works have the charm and sophistication of his more well known contemporariies.

The concert opened with three “Canzonette” and “Madrigaletti” by Salamone Rossi Ebreo, scored for various combinations of voices, with accompaniment by the great six-foot long arch lute, harpsichord and cello. Moving from one passion to another the voices achieved a fine blend, the singers looking at each other at the ends of phrases in order to achieve a perfectly tuned pianissimo.

Next came a Largo from Vivaldi's lute concerto, which Mr. Cockerham played impeccably on his small baroque guitar, with tasteful pizzicato cello accompaniment. On each repeat, the guitarist added elegant and precisely played ornaments, holding the audience in rapt attention. The balance between guitar and cello was exquisite.

This reviewer was pleased with the single movement instrumental interludes between the vocal pieces and they “cleared the palate” for the vocal works to come. Ms. Fong played two movements from Scarlatti harpsichord sonatas, and Ms. Pridham performed a Largo from a Vivaldi cello sonata. It would have been nice to hear more ornamentation from the cello, but otherwise it was sensitively played.

Mr. Eichelberger's long cantata “Distant from his beloved” was one of the most moving works on the program. The Vinaccesi piece-- the story of Mirtillo who is lamenting his dear Amirilli -- is full of feverish love and torment. Mr. Eichelberger has a superb voice, moving effortlessly from high to rock bottom notes in the bass clef. He brought out the dramatic and soulful words of the poetry. Recitatives contrasted with arias which changed mood from phrase to phrase. A coloratura passage would end in a perfectly placed deep low note.

Marcello's Psalm XV (from the King James Bible) was a showpiece for Mr. Smucker. Great emotional ups and downs characterized this lyrical composition. The cello and harpsichord had a very animated accompaniment, with affecting melodies interacting with the voice, In the last verse the cello played a repeating descending scale against the more inventive vocal part. Mr. Smucker has a clear, assured voice capable of evoking every changing emotion.

A cantata by Barbara Strozzi, “Beautiful eyes,” was scored for soprano and mezzo,with many ascending dissonances and intricate interplay between voices. Strozzi's “Hercules in love” was another highlight of the afternoon, sung by Mr. Eichelberger. He captured the poignant humanity of Hercules' torment over his “fickle and treacherous” love.

Monteverdi's “Why do you flee, oh Phyllis?” was a trio for mezzo, tenor and bass with continuo. The intricate intermingling of the vocal lines, rich in harmonies and aching dissonances resolved finally to a satisfying consonance to end the program.