Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital itís easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handelís seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if itís the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcellís Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the schoolís Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossiniís ďWilliam TellĒ overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonicís Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, March 21, 2015
Bruno Ferrandis, conductor. Olga Kern, piano

SRS Hornist Meredith Brown

A TROIKA TO REMEMBER

by Steve Osborn
Saturday, March 21, 2015

At the beginning of the 20th century, Russia was home to three extraordinary composers--Rachmaninoff, Prokofiev, Stravinsky--whose stars continue to shine. Rachmaninoff carried on the Romantic tradition, Stravinsky tried to annihilate it, and Prokofiev landed somewhere in the middle, clinging to traditional forms while injecting radically new content.

Their differences were well illustrated by the Santa Rosa Symphony in their March 22 concert in Weill Hall. Conductor Bruno Ferrandis chose youthful pieces by each one: the Rachmaninoff Piano Concerto No. 1, written when he was 18, the Prokofiev Piano Concerto No. 1, penned at 20, and the Stravinsky "Firebird" suite, at an ancient 27. Pianist Olga Kern played both the concertos, and Symphony first chairs supplied pervasive solos in the Stravinsky.

Wearing a gorgeous one-strap purple gown, the svelte, blond-haired Kern exuded confidence from the opening notes of the Rachmaninoff, and she got better as the concert unfolded. She sits straight but not rigid, her head slightly bent over the keys, her concentration intense. Her arms move as gracefully as a ballerina's, and her fingers fly over the keyboard with flawless rapidity.

Kern didn't really stand out until the cadenza of the opening movement, where she hit low notes with pinpoint accuracy while playing intricate fast passages in the upper registers. She then made a beautiful transition to a slower tempo, changing the mood in a split second.

While the first two movements of the Rachmaninoff are fairly bland, the third--which he reworked at a later date--offers some musical challenges. These Kern met to a degree, but her dynamic range seemed limited, and her interpretations too straightforward. The movement calls for drama and expressivity, but Kern was mostly subdued, if technically perfect.

The Prokofiev, which began the second half, ratcheted the drama up by several notches. The memorable opening phrase, with its strong accent at the top of a melodic arch, calls for all-out playing from both orchestra and soloist. Here Kern got more in the mood, playing the many iterations of opening phrase with vigor and the subsequent passages with fierce intensity. While at times hampered by inadequate dynamic contrast, she drove into the final section relentlessly, engaging in an animated call and response with the orchestra. The run-up to the end was truly bravura, and the sustained ovation well deserved.

After the Prokofiev, the orchestra emerged from the shadows to perform the suite from Stravinsky's "Firebird" ballet, a staple of the modern repertoire. Beginning with a six-note figure in the low strings, the suite moves inexorably forward, each section reflecting the action of the ballet. Even without the dancers, one can imagine their motions.

In the "Firebird," with its spiky rhythms and incessant melodic handoffs, all the orchestral parts have to fit exactly for the music to work. The fit in this performance was precise, and hearing the hot-potato phrases skip from woodwinds to brass to strings was a sonic delight. Ferrandis held everyone together with a steady beat that was easy to read.

The "Firebird" unfolds by degrees. Most of the first half is relatively subdued, with frequent solos from first chairs, most memorably the French horn. Horn principal Meredith Brown played each of her solos impeccably, with wonderful tone. The enchanting interplay between soloists and full orchestra came to an abrupt end with a mighty blow to the bass drum. The transition was so effective that several people around me jumped in their seats.

The tempo in the latter part of the suite was often fervid, with Ferrandis leading the charge. The brass,led by principal trumpeter Doug Morton, were especially prominent. The sustained buildup led to a tremendous orchestral chord and an abrupt transition to quietude, marked by a wonderful bassoon solo from principal Carla Wilson. During a subsequent pianissimo tremolo from the strings, the audience sat in pin-drop silence. The final bars, marked by a restatement of the horn solo and principal theme, were nothing short of triumphant, culminating in a thrilling final chord.

The concert was the best of the Symphony's season to date, and their performance of the "Firebird" was exceptional. Another reason for the concert's success was the cogent choice of repertoire. The beginning of the 20th century was a splendid time for music in Russia, and the concert displayed the range and depth of that period. Now if only Ferrandis could assemble a concert with substantial works by three 21st century American composers. Future audiences might find them as innovative and inspiring as their Russian counterparts.

Ed. Note: this review is the first of two for the concert