Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
SYMPHONY REVIEW
Sonoma County Philharmonic / Tuesday, June 19, 2018
Norman Gamboa, conductor. Hans Brightbill, cello

Cellist Hans Brightbill June 19 With the So Co Phil in the Teatro Nationál (Mary GG Photo)

!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT

by Terry McNeill
Tuesday, June 19, 2018

Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results don’t measure to expectations. With the Sonoma County Philharmonic’s Costa Rica concert June 19, the performance exceeded any heated or tenuous prospects. They hit the proverbial home run in a convincing gala performance in the capitol San José’s historic Teatro Nacionál on the third day of an epic week-long Orchestra tour.

Led by Costa Rica native Norman Gamboa, the So Co Phil was augmented by nine local musicians (advanced students and several instrumental teachers) that added to the old hall’s warm acoustics and sonic heft. With several layers of ornate box seats and short sight lines, the Teatro embraced a direct orotund sound with reverberation just under one second. Perfect for the works Mr. Gamboa chose and had been perfected in dedicated pre-trip rehearsals and sound checks.

Chief among the four programmed works was Elgar’s E Minor Cello Concerto, Op. 65, with So Co Phil principal Hans Brightbill as the soloist. Mr. Brightbill has played the work three times since January, and has persuasive ideas about it that began with a solemn introduction and laconic lyricism that in subtle ways dominated each of the four movements. E Major sunshine sporadically broke through the sad but never despairing themes, only to return finally to the Minor. The soloist’s low register warmth and steady control of tempo led into a perfectly gauged pizzicato reference to the first theme and the beguiling next allegro molto.

Improvisatory in design, this movement received the cellist’s deft flexibility of phrase, mimicking his interpretation in the June 15 Bon Voyage Santa Rosa concert where poignant control of soft passages could easily be heard over the Orchestra. Mr. Gamboa fashioned nobility in the sound but never allowed the pathos to diminish. The finale’s light and joyous sections were tempered by Mr. Brightbill’s artful echoes of tunes of the preceding movements.

This complex but elegant work from 1919 received a performance that seemed to be a summary of instrumental introspection and chaste virtuosity, and sensuous agreement of conductor and soloist. Mr. Brightbill brought his own special instrument for the tour, the same for some section players but local instruments were supplied for tympani, percussion, harp and double bass.

Following intermission Mr. Gamboa drew from the Orchestra the best playing I have yet heard of Frank La Rocca’s Crossing the Rubicon, a 1994 piece that had an extra measure of sonic “shimmer” than in past performances. I suspect the additional string weight and theater acoustics made a difference, and for the first time Christina Kopriva’s harp part could be clearly heard, along with solos from clarinetist Nick Xenelis and jazz riffs from Tom Hyde’s always sterling trumpet. The conductor crafted distinct references to Copland’s early 1940 ballet pieces, Reich’s Music for 18 Musicians and Adams’ The Chairman Dances and Eldorado.

Completing the concert was the 1942 symphonic suite (arr. Robert Russell Bennett) from Gershwin’s 1935 opera Porgy and Bess. The playing was a feast of dramatic orchestral color in 29 minutes, with pungent solo playing all around: Jocelyn McCord (marimba); Ms. Kopriva; Robby Morales (viola); Miranda Kinkaid (bassoon); Chris Krive (oboe); Debra Scheüerman (flute); Emily Reynolds (piccolo); Pam Otsuka (violin); Gary Anderson (cello); Mr. Hyde and Mr. Xenelis. In several dramatic passages Mr. Gamboa drove the forte sound to the point that it generated tremors in the wood flooring of the second tier box where I was sitting. Fidgety feet indeed. The famous “Bess, You Are My Woman Now” aria had a memorable performance, highlighted by Mr. Morales’ rich viola realization. Anthony Perry’s English horn solo, mysterious and luxurious, reminded me of a similar statement in the Prelude to the third act of Wagner’s opera Tristan and Isolde. It was beautifully enigmatic. The Orchestra's three stellar saxophone players (Matthew Bringedahl and Jerome Flag, alto E Flat;Teresa Meikle-Griswold, tenor B Flat) added a unique sound that surprisingly blended well with the piquant Gershwin sonic texture. It was a fetching mix.

With such splashy orchestral playing an encore was demanded, and Mr. Gamboa complied with a strident and boisterous two-minute "Circus Galop" Sousa march. Percussion and cymbal effects slashed through the sprightly music, ending a special concert that saw the United States Ambassador to Costa Rica Sharon Day mount the stage to congratulate Mr. Gamboa and the Orchestra’s President David Poe.

In a musical gift to his native country, Mr. Gamboa programmed Costa Rican composer Julio Fonseca’s Suite Tropical: Fiesta Campestre, to open the concert. Somewhat of a specialty work for the conductor, as he learned the 12-minute Suite in his youth, he clearly relishes pushing the playing from all 12 brass/horn players to piercing levels. It’s that kind of piece, lavish with vivid effects and rhythmic sway, and Mr. Gamboa’s seasoned ensemble triumphed.

Two additional concerts in provincial cities are described in a separate article.