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Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Chamber
GOOD OLD WINE IN GOOD OLD BOTTLES AT VOM CONCERT
by Jeff Chan
Saturday, February 11, 2017
February 11 was the first day of sunshine in Sonoma County after nine days of rain, but a nearly full house of music lovers chose to spend their afternoon in Schroeder Hall instead of being outside, soaking up the warm sun. There were two equally compelling reasons to attend this concert, which fea...
Chamber
ENSEMBLE PERFECTION IN KLR TRIO'S 40TH ANNIVERSARY CONCERT
by Terry McNeill
Sunday, January 29, 2017
Longevity has its place in classical music. Composers and especially conductors live a long time, and venerable piano trios can linger for years. One can recall the great Cortot-Thibaud-Casals staying on the international scene for decades, and more recently Stern-Istomin-Rose, Oistrakh-Oborin-Knu...
Chamber
A MUSICAL ODYSSEY IN RIVITING PRESTON HALL RECITAL
by Terry McNeill
Sunday, January 15, 2017
A standing room audience warmly greeted pianist Carolyn Steinbuck Jan. 15 in the season’s second Ft. Bragg Center For the Arts concert in Mendocino’s plebian Preston Hall. Ms. Steinbuck, to be joined in the program’s second half by clarinetist Eric Kritz and cellist Marcia Sloane, programmed Schube...
Chamber
FAST BUT NOT ALWAYS FURIOUS IN OAKMONT CELLO RECITAL
by Terry McNeill
Thursday, January 12, 2017
New England-based cellist Edward Arron played an encore recital Jan. 12 at Music at Oakmont’s Berger Auditorium that was a in almost every way a success and surely an audience delight. Beginning with Bach’s G Major Sonata gamba the cellist and pianist Jeewon Park played the work that rolls along wi...
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...
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...
CHAMBER REVIEW
Sonoma State University Department of Music / Sunday, March 29, 2015
Trio Ariadne; Argento Ensemble, Michael Galante, conductor. Fredericka von Stade, soprano

Soprano Frederick von Stade

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, directed by of Michel Galante, and with the Ensemble the diva Fredericka von Stade. The Trio and the Argento gave the bulk of the program.

Each member of the Ariadne performed solo part in one of the pieces. Except for a short fragment of the unfinished Schumann D Minor Piano Concerto, all the works were contemporary, including a solo piano work by Mr. Galante, and early in the program he said “If you’re not used to hearing the contemporary medium of Western Music, I suggest you just listen and react; with each piece, you’re likely to love it or hate it.” And listening to comments from the audience, I’d say that was the case. Some of the works were quite interesting with lots of textural variety, and some were disturbing, ethereal, repetitive or annoying. For me, the two most interesting were a performance by Philip Edward Fisher of Mr. Galante’s “Megalomania,” which jumped all over the keyboard with a bombastic quirkiness, and Ligeti’s “Cello Concerto,” performed by Ms. Thorsteinsdóttir. It began with a single cello note, going from pppppppp to perhaps mp over a minute and a half, with other instruments eventually joining in on the pitch. It was very dreamlike but texturally quite intriguing.

The orchestra members and most soloists wore the traditional black concert attire, but when soprano Frederica von Stade came on stage for the concert’s last section, she wore black with a bright red scarf-like tunic which was exquisite and the presence of a splash of color was almost breath-taking after so much somberness.

It was also the first time all evening that true tonal color was heard as well and I basked in it. Up to Ms. von Stade’s singing there was much textural variety but nothing that felt personal and warm, and the artist immediately delivered intimacy and warmth with great depth of beauty.

Mahler’s “Songs of a Wayfarer” were written with the composer’s own lyrics in 1884-85, in the wake of his unhappy love for soprano Johanna Richter, whom he met while a conductor in the Kassel opera house. Later Mahler’s protégé Arnold Schoenberg scored the work for two wind instruments, piano, percussion and string quintet. Mr. Galante expanded this version to 15 players and this was what was heard accompanying Ms. von Stade. The sonic texture was not as lush as Mahler’s original, but it was surely personal and a provocative conversation of different instruments.

After 41 years on the opera and recital stage Frederica von Stade’s voice is as healthy, vibrant, and colorful as ever. It sounds as fresh as it did at the height of her career. She had some signs of a cold and cough at beginnings of very soft phrases, but it was truly an impeccable performance by a sterling artist. The four songs showed a range of emotions from distraught declamation to haunting melancholy, and eventually to vulnerable but optimistic acceptance of the new life journey ahead. The easiness of her voice seemed to pull the audience into the depicted pain, anguish, vulnerability and tenderness. In the first Song (“Wenn mein Schatz Hochzeit macht”) and the third (“Ich hab’ ein glühend Messer”) the chest tones were powerful.

The Ensemble played in elegant communication with the vocal lines, and in the final song (“Die zwei blauen Augen”) the singer established a melancholy tone, and half way through, when she sings of finding a linden tree to rest under (and showered by its blossoms) the subtle drama moved to a major key and a sunny sense of hope and newness of life.

Her diction was excellent and the German easy to understand in all parts of her range. She used very little physical gesturing to display emotion, but allowed her voice and face alone to display the grand palette of emotional color. She was a joy to watch and to hear.

The audience of 1,100, liberally sprinkled with singers, gave the artist a standing ovation. There was no encore.

Susan Witt-Butler contributed to this review