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Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
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...
Choral and Vocal
A SEASONAL MESSIAH WITH BALANCE AND HEFT
by Terry McNeill
Sunday, December 10, 2017
The mid-December concert season seems for jaded reviewers to invariably include a Messiah performance, and perhaps a Messiah in a long string of similar and mundane performances. This was decidedly not the case when San Francisco’s Philharmonia Baroque mounted Handel’s eminent three-part 1742 Orato...
Choral and Vocal
A MAJESTIC ABS MESSIAH ORATORIO RESOUNDS IN WEILL DEC. 18
by Joanna Bramel Young
Sunday, December 18, 2016
San Francisco’s American Bach Soloists (ABS) presented Handel’s incomparable oratorio Messiah, HWV 56, to a sold out Weill Hall Dec. 18. It was a celebratory afternoon. In the fashion ABS audiences have learned to expect, conductor Jeffrey Thomas brought out the best of orchestra, chorus and solo...
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...
Choral and Vocal
EASTER AND ASCENSION ORATORIOS SOAR IN ABS MARIN CONCERT
by Joanna Bramel Young
Friday, April 22, 2016
Three baroque composers were brought together April 22 at the American Bach Soloists‘ offering of oratorios: Buxtehude, Johann Kuhnau and Bach. In Belvedere’s St. Stephen’s Church the ABS highlighted the sequence of influence for these three masters, displaying stunning choral singing, virtuoso in...
Choral and Vocal
CHANTICLEER SINGS TO THE MOON IN WEILL HALL CONCERT
by Sonia Morse Tubridy
Saturday, April 16, 2016
The renowned male a cappella  Chanticleer choir presented an "Over the Moon" program April 15 at the Green Music Centers Weill Hall.  The audience, including many choral music cognoscenti, was entranced by a varied and enriching program spanning centuries and continents. The theme of the evening was...
Choral and Vocal
RUTTER REQUIEM PERFORMANCE ENNOBLES GOOD FRIDAY CONCERT AT INCARNATION
by Terry McNeill
Friday, March 25, 2016
There is a lot to like in John Rutter’s Requiem. Composed in 1985, it’s arguably the most performed large choral work of recent times, and it was a labor of love for choral director Carol Menke’s musicians in a memorable Good Friday concert in Santa Rosa’s Church of the Incarnation. Splendid Requi...
Choral and Vocal
SEAMLESS ENSEMBLE AT MENKE-THOMPSON-ZAJAC CONCERT IN SCHROEDER
by Christa Durand
Sunday, March 13, 2016
Those who braved the storm March 13 to attend diva Carol Menke’s recital in the intimate Schroeder Hall were rewarded with a warm program of chamber music for voice, clarinet and piano.  Brahms’ E-Flat Clarinet Sonata, Op. 120, No. 2, opened the concert.  The interplay and communication between pia...
Choral and Vocal
HANDEL A FEAST AT ABS BELVEDERE CONCERT
by Joanna Bramel Young
Friday, February 26, 2016
American Bach Soloists (ABS) once again enchanted a full house in Belvedere’s St. Stephen’s Church February 26 with an exciting, varied, virtuosic performance, this concert offering works solely by Handel. Germany-born Handel made his way to England after an extended stay in Italy, where he was ...
CHORAL AND VOCAL REVIEW
Church of the Incarnation / Friday, March 30, 2018
Cantiamo Sonoma, St. Cecilia Choir. Carol Menke, conductor. and soprano. Robert Young, organ; Thomas Hart, baritone

Cantiamo Sonoma and St. Cecilia Choir at Good Friday Duruflé Requiem (JCM Photo)

GOOD FRIDAY REQUIEM FILLS INCARNATION

by Terry McNeill
Friday, March 30, 2018

Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Young.

Before a packed Incarnation audience Carol Menke directed the 43-minute performance that was the composer’s 1948 transcription from the original versions that use an orchestra of various sizes. Here the reduced forces favored the singers, as Mr. Young (the Incarnation staff organist) never covered the music, and at full forte volume the organ sound was often submerged. At this time the church floor could be felt to vibrate under the power of the vocal ensemble.

Arguably the North Coast’s best permanent concert choir, Cantiamo gave a dramatic and aggressive character to the nine movements, as the music is far removed from the ethereal Fauré Requiem, or the wonderful Cherubini Requiem that Ms. Menke directed in the same church several years ago. The score is based almost solely on Gregorian Chant, and was sung in Latin.

There were two short solos, one by bass baritone Thomas Hart and one by soprano Ms. Menke, and cellist Laura McLellan in the Pie Jesu movement played a lovely solo weaving in and out of Ms. Menke’s vocal line. Cantiamo’s tenor section was especially strong in the Domine Jesu Christe and Sanctus movements, with eruptions of sound that could be shrill but robustly penetrating.

Though the organ mostly is subsidiary in this work, it frequently introduced themes, resolved small dissonances and provided postludes. Highlights for me were the somber Kyrie with veiled sound and interesting organ registrations, and the Libra me section with glorious ascending chords and captivating phrasing from the sopranos.

The quietly shimmering ending of the final fading In Paradisum movement seemed to catch the audience by surprise, and elicited long applause.