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Chamber
THE LINCOLN RETURNS WITH CLARKE'S PUNGENT TRIO
by Terry McNeill
Thursday, November 18, 2021
There were many familiar faces Nov. 18 during Music at Oakmont’s initial concert of the season, but perhaps the most necessary were the three musicians of the Lincoln Piano Trio, the Chicago-based group that has performed often in Oakmont since 2006. A smaller than unusual audience in Berger Audito
Chamber
THRILLING PIANO QUINTETS IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 14, 2021
The Mill Valley Chamber Music Society sprang back to life on November 14 when a stellar ensemble from the Manhattan Chamber Players, a New York-based collective, arrived to perform two piano quintets: Vaughn-Williams’ in C Minor (1903), little known and rarely performed; and Schubert’s in A Major D.
Chamber
MUSCULAR BRAHMS FROM IVES COLLECTIVE IN GLASER
by Terry McNeill
Sunday, November 14, 2021
Leaving SRJC’s Newman Auditorium for the first time in decades, the College’s Chamber Concert Series presented a season-opening concert Nov. 14 in Santa Rosa’s Glaser Center with the four-musician Bay-Area based Ives Collective. The season, the first given since 2020, is dedicated to Series Founder
Chamber
SPARKLING WIND, STRING, HARP MUSIC AT DEVON HOUSE GARDEN CONCERT
by Abby Wasserman
Saturday, October 9, 2021
Take a mild autumn evening, a garden gazebo with patterned rugs and lit with soft bulbs, shake in a fine chamber ensemble, add a rising new moon, and you have a recipe for the musical delight that violist Elizabeth Prior presented Oct. 9 in her Devon House Garden Concert series. The Marin Terra Li
Chamber
ONE PIANO, TWO PIANO, THREE PIANO, FORE
by Terry McNeill
Thursday, July 29, 2021
Schroeder Hall was nearly full July 29 for the final pianoSonoma concert of their season, and presumably the draw and highlight for many of the 150 attending was Bach’s Concerto for Four Pianos. And that performance was probably going to be a North Bay premiere. However, it wasn’t the highl
Chamber
PENULTIMATE VOM FESTIVAL CONCERT FEATURES GORGEOUS VOCALISM
by Pamela Hicks Gailey
Thursday, July 29, 2021
The 2021 Valley of the Moon Music Festival continued on July 29 with a sumptuous online offering of French songs, concluding with the second piano quartet by Fauré, Op. 45. Such a beautiful bouquet of video performances wonderfully filmed and recorded softened the disappointment of not being able to
Chamber
BOGAS' TENURE ENDS IN OUTDOOR GUALALA CHAMBER CONCERT
by Iris Lorenzfife
Sunday, July 25, 2021
The preconcert call that music lovers should gather at Gualala Arts July 25 to attend the final Roy Bogas and Friends Concert was not quite as dire as it sounded. It seems that a year of Covid 19 and an 88th birthday had combined to convince Mr. Bogas that he was working too hard. But with cellist P
Chamber
CLARA SCHUMANN TRIO COMMANDS VOM CHAMBER MUSIC CONCERT AT HANNA
by Terry McNeill
Saturday, July 24, 2021
The Valley of the Moon Chamber Music Series has begun several virtual and a few live concerts in its new seventh season, some broadcast from Sonoma’s Hanna Center Hall and some in posh local venues. July 24’s video had a small live audience and a well-produced video program of three works. Titled “
Chamber
RARE LANG SONGS SPARKLE AT VOM FESTIVAL VIDEO RECITAL
by Pamela Hicks Gailey
Wednesday, July 21, 2021
Unexpected pleasures are often the best. Valley of the Moon Chamber Festival presented a such a pleasure last week-a July 21 recorded performance by tenor Kyle Stegall and pianist Eric Zivian in another mini-recital (very mini-just 15 minutes!) of six songs by the nineteenth century German composer
Chamber
EXEMPLARY QUARTET PLAYING IN MENDO FESTIVAL FT. BRAGG CONCERT
by Terry McNeill
Wednesday, July 21, 2021
Faced with the impossibility of presenting concerts in the iconic large white tent on the bluff, the Mendocino Music Festival opted to use Ft. Bragg’s Cotton Auditorium for ten events in the abbreviated 35th season. San Francisco’s Alexander String Quartet played July 21 to a fully masked audience
CHAMBER REVIEW
Valley of the Moon Music Festival / Thursday, July 29, 2021
Emily Marvosh, contralto; Lisa Lee, violin; Liana Bérubé, viola; Tanya Tomkins, cello; Eric Zivian, piano

Contralto Emily Marvosh

PENULTIMATE VOM FESTIVAL CONCERT FEATURES GORGEOUS VOCALISM

by Pamela Hicks Gailey
Thursday, July 29, 2021

The 2021 Valley of the Moon Music Festival continued on July 29 with a sumptuous online offering of French songs, concluding with the second piano quartet by Fauré, Op. 45. Such a beautiful bouquet of video performances wonderfully filmed and recorded softened the disappointment of not being able to experience them in person.

Included in the program were seven well-known nineteenth century mélodies: "L'Absence" from Nuits d'été ("Summer Nights") by Berlioz, "À une fleur" ("To a Flower") by Bizet, "Fleur Déssèchée" ("Dried Flower") by Pauline Viardot, Fauré’s "Arpège" followed by Debussy's Chansons de Bilitis: "La Flûte de Pan" (The Flute of Pan"), "La Chevelure" ("Tresses"), and "Le Tombeau de Naïades" ("The Tomb of Naiads"). Sung with warmth of both voice and personality by contralto Emily Marvosh, and played charmingly and emotionally by pianist Eric Zivian, I especially enjoyed the Debussy for its dreamy and evocative piano part and the seductive, quietly conversational melodies of these odd and fantastical poems.

The first three songs were recorded with the Rausch fortepiano in the familiar music room, and the last four songs and the quartet were recorded on a curtained theater stage with a modern piano. For this performance I actually preferred the sound in the curtained venue than in the "Rausch" room, which was a bit too bouncy for the harmonically complex piano accompaniments.

Ms. Marvosh sings with a lovely, rich, and evenly produced contralto, which in these songs sounded appropriately lighter weight and more mezzo-ish than alto-ish. The combination of her natural dark color with a beautifully even and weightless spinning of tone is effortless. Her French is clear and easy to follow and she communicates intelligently and warmly, but a little more spice could be added to create more interest in the poetry. My only wish is that she had been off-book, which surely would have added that missing element. The necessity of glancing back and forth from the score robs her of the complete artistic experience I believe she is capable of, and also robs the audience of her considerable expressive gifts.

On this subject (since I have mentioned it in other reviews), it occurred to me that curiously it does not break focus at all when pianists and other instrumentalists are reading from a score during performance, but that it does indeed interfere when a singer is using notes, and I think it is partly because the singer is multitasking text and music simultaneously, an already complicated mental exercise, more so when the language is not one’s own.

Then there is the convention of classical recital singing, which involves the expectation of a focused gaze or even eye contact with the audience, and if a singer is using music, even if only as a prompt, then eye contact, and therefore communication, is constantly being broken to glance at the music.

If a singer can master the technique of never looking at the music in the middle of a phrase, and looking only during a rest, the breakage is minimized, rather like the theatrical skill of looking at the conductor without appearing to be looking at them. Ms. Marvosh used music on all her selections and dealt very well with the challenge, but her performance would have have been even more impressive had she been free from the printed page. This wonderful artist and her video audience deserve the complete experience.

Mr. Zivian is a stellar pianist and I feel like a broken record singing his praises once again. But sing them I must. His work on the songs, particularly the Debussy, was inspiring as expected, the dream playing every singer covets. His work on the G Minor Fauré quartet was astonishing and the ensemble were beyond superlative. Watching them commune with each other in the fiery Scherzo was both transporting and revelatory. Violinist Lisa Lee played with a combination of accurate intonation, passion and delicacy. Violist Liana Bérubé and cellist Tanya Tomkins were sonically perfectly matched, playing with gorgeous string tone, subtle dynamic contrasts and ensemble.

Of course Fauré's Quartet (1886) is beloved for its compactness and interwoven harmonies and interplay. The noble adagio is certainly one of the most beautiful in the repertoire, where the viola and cello have a chance to shine. This was a truly memorable performance.