Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
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...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
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...
SYMPHONY REVIEW
Mendocino Music Festival / Wednesday, July 22, 2015
Allan Pollack, conductor. Frederick von Stade and Melissa Angulo, soprano; Jeremiah Smith, bass-baritone

Frederick Von Stade (l) and Melissa Angula July 22 with Alan Pollack Photo (N. Wilson photo)

MOZART'S GENIUS UPSTAGES DIVA, YOUTH AND CONDUCTOR IN STERLING MMF CONCERT

by Terry McNeill
Wednesday, July 22, 2015

Mendocino’s eclectic Music Festival gave a strong imprimatur to the Mozart theme July 22 with a radiant orchestral and vocal concert in the big white tent on the Mendocino headlands.

The Overture from “The Abduction from the Seraglio” (K. 384) opened the concert in an adroit reading that was a happy prelude to the anticipated singing and the famous final Mozart Symphony.

In the first half works associated with Mozart’s operas were heard, and the starring role was given to the splendid mezzo-soprano Fredericka Von Stade. The venerable artist sang two arias (“Vedrai Carino” from Don Giovanni and “Una donna a quindici anni” from Cosi Fan Tutte), charmed the audience with repartee as only a diva can do, and joined with two young singers from Berkeley in sparkling duets. Jeremiah Smith came first with the “La ci darem” from Don Giovanni, a baritone aria that he sang with refinement but without the requisite power, and Ms. Von Stade was his perfect foil as Zerlina. More vocal potency came from soprano Melissa Angula in “Come scoglio” (Cosi), the singing being energetic but top notes were shrill and the orchestra covered her at times. Ms. Angula commands and long and even trills.

How is Ms. Von Stade at this point in a career that began 45 years ago in New York? She still has a lyrical Cherubino (Marriage of Figaro) with deft communication and élan if slightly reduced projection and vocal color, and she ebulliently commanded every inch of the stage. In the duo with Ms. Angula they sang from a faux score that when turned over revealed and large Nicholas Wilson photo of Mr. Pollack, to much laughter and apparently was unforeseen by the conductor. Ovations during this set from the audience of 750 were long and loud.

As good as the singing was, the C Major Symphony (K. 551, “Jupiter”) was the concert’s highlight. Here conductor Alan Pollack brought mostly moderate tempos to the four movements of Mozart’s last and greatest symphonic work. Solid brass and flute (Mindy Rosenfeld) playing characterized the opening Allegro Vivace with several modulations bringing the composer’s dramatic contrasts into relief and a lovely oboe solo from Thomas Nugent.

The Andante had a personal character with pathos and an occasional rhythmic surprise. The muted strings sounded suitably rich. The Minuet was played in the manner of Haydn, richly blossoming into the Trio of winds and strings. The conductor controlled all very well, letting the tympani give just the right foundation support.

If the multi-fugue finale doesn’t excite an audience, no Mozart symphony movement will, and here Mr. Pollack drove a quiet beginning into a swifter tempo than anything before. The many short themes whirled by with a lot of energy, and the conductor never let the polyphony become murky, even with the tent’s unique acoustics and at elevated volumes.

It was an uplifting and cogent performance, down to the final six epochal chords that were in a small way an additional declaration of Mozart’s compositional genius.