A Baroque Christmas in Sacramento

Last night at SAFE Credit Union Performing Arts Center in Sacramento we attended a lovely small orchestra concert with Margaret Batjer, conductor and violin.  I am calling these types of concerts twofers.  That means you get a soloist and a conductor for the price of one.  It's becoming very popular.  In fact the previous Sacramento Philharmonic and Opera concert was also a twofer.   Margaret's experience is as a concert mistress, and that's where she spent most of her time in the concert.  Only in the Bach violin concerto did she stand in front of the orchestra.  The rest of the time she sat in concert master's place on a raised platform where everyone could easily see her.

BACH Violin Concerto in A minor 

Allegro 
Andante 
Allegro assai

HAYDN Symphony No. 8 in G major "Le soir"

Allegro molt
Andant
Minuetto
La tempesta: Presto

Since it was in fact Haydn who invented the four movement symphony format, I reminded my friends that the other guys were not familiar with this form.  Corelli was even earlier than Bach.

 CORELLI Concerto Grosso in G minor.  "Christmas Concerto"

I. Vivace – Grave 
II. Allegro
III. Adagio - Allegro – Adagio
IV. Vivace
V. Allegro 

A concerto grosso involves a small ensemble, this time a string quartet, that alternates with the full orchestra.

BACH Brandenburg Concerto No. 4 in G major

I. Allegro
II. Andante
III. Presto

The Brandenburg Concertos are also concerti grossi.  The small ensemble in this particular case is a violin and two flutes.  The two flutists were not named, but I am going to assume they were Matthew Krejci and Elizabeth Coronati.

Our complaints about the previous concert seemed not to apply here.  We were quite happy with the acoustics.  Our guest violinist seemed to play significantly louder than the other string players.  We loved both the chosen repertoire and the manner in which it was played.

SAFE Credit Union Performing Arts Center is Back

 

The Sacramento Philharmonic and Opera gave their first performance of this season in the recently refurbished  SAFE Credit Union Performing Arts Center.  The program consisted of:

Beethoven "The Consecration of the House" Overture, Op. 124

Mozart Piano Concerto No. 17 in G major, K. 453.

Sibelius Symphony No 2 in D minor, Op 43.

Jeffrey Kahane both conducted and played the piano in the Mozart.  This is something going on now.  Instead of hiring both a conductor and a pianist, one hires someone who can do both at the same time, thus getting two for the price of one.  This is, of course, what would have happened in Mozart's day.  The concert was good but not very exciting.

The picture above is the only one I could find that shows the new configuration of the seats in the reconstructed center.  Previously the seats extended all the way across with aisles only at the ends. Now we have a more conventional configuration.  There is an orchestra pit, but it was covered for our performance.  

They told us the sound was amplified.  It had a kind of flat sound which diminished the expected and desired dynamic range.  Classical music is not normally amplified, and if you are amplifying it, it is considered a sign that you have failed in any kind acoustic design. People came down from the balcony and said they could hear nothing up there.  We'll see.

Keith Bohm in Recital

Faculty Recital: Keith Bohm, saxophone

Sacramento State School of Music

Capistrano Hall - Room 151

Accompanied on the piano by John Cozza.

 

The earliest piece in this recital was written in 1959:  Printemps by Pierre Gabaye, with piano accompaniment.

Arabesque on a theme by Debussy (2018) by Jenni Watson was accompanied by an electronic sound track.  This was fun.

Suite en duo (1971) Aria, Allegro, by Guy Lacour came in 2 movements and was played on two saxophones with no accompaniment:  Keith on tenor sax and Russell Veirs on alto sax.  There was much talking about the fact that originally the slow movement Aria followed the fast movement Allegro, but Keith likes it better this way.

Soar (2016) by Alastair Penman brings us back to piano accompaniment.

Ray (2017) brings us back to Jenni Watson.

All of these pieces have at least a hint of jazz.  Keith seems not to care for ugly modernity.

Fuzzette, the Tarangula (1962) by Robert Muczynski is in 9 movements and has a narrator and a flute player.

The program ended with Tango Suave (2012) by Jean Matitia.  

A whole program of saxophone is not unpleasant.

Saint-Saëns Organ Symphony in Sacramento

Sacramento Philharmonic & Opera opened their 2021-2022 season last night in the Memorial Auditorium.  This venue was chosen because it is one of the few places with a built in pipe organ, and they wanted to feature the Organ Symphony by Camille Saint-Saëns.  The rest of the program also included organ. 

The conductor for the performance was Robert Moody,

and the organist was James Jones. 

Originally the program was set to include Barber's Adagio for Strings in an arrangement for organ, but the organ itself is being repaired and would not play the piece.  Short pieces for organ were substituted.

Next was Edward Elgar's (1857-1934) Enigma Variations (1899). One source says there are 14 variations.  This information would have made sense to include in the program.  Some but not all of the variations included organ for a different sound.

To end the program we enjoyed the Organ Symphony by Camille Saint-Saëns (1835-1921).  I liked the sound of this piece much better than the previous one.  Memorial Auditorium is not an ideal space for classical concerts due to the acoustics.  Towards the end of this piece the organ began to boom in.  I was disappointed that we had to wait so long for this loud booming sound.  All in all it was enjoyable.  Welcome back.

Imani Winds

My alma mater presented a woodwind quintet called Imani Winds.  A woodwind quintet is a traditional ensemble with exactly the makeup of players you see illustrated.  And yes, a French horn is not a woodwind.  There is composed repertoire for this ensemble, but mostly they played arrangements.  The members left to right are:  Mark Dover, Brandon Patrick George, Monica Ellis, Jeff Scott and Toyin Spellman-Diaz. 

This concert had a theme:  The Beauty of Strife.  Artworks that came to us through war and political conflict.

Nkosi si di Leli by Enoch Mankayi Sontonga, arranged by Valerie Coleman is the South African National Anthem.  There is no note for this interesting piece because we all are familiar with the strife in South Africa.

Le Tombeau de Couperin [the tomb of Couperin] by Maurice Ravel is arranged by Mason Jones from the orchestral version of this piece.  Ravel is responding to the deaths of his friends in WWI by attempting to create a French suite such as Couperin might have written.  We heard 4 of the movements.

Quartet No 8 by Shostakovich is arranged from a string quartet by Mark Popkin.  We heard 5 movements.  It was explained from the stage that this work has a unifying theme.  Just as Bach wrote a piece using his name as a theme [BbACB], Shostakovich made a theme of his initials DSch [DEbCB] which appears through the work.  This work was composed from his reaction to the bombing of Dresden in WWII.

"Gift of Life" from Wanderings by Derek Bermel is concerned with conflict and cultural merging in Jerusalem.  It has a certain Klezmer quality.

Traditional Spirituals arranged by Valerie Coleman is "Steal Away" and "Ev'ry Time I Feel the Spirit" arranged for woodwind quintet.  We all know that these come from the period of American slavery, but what I didn't know was that they sometimes contained instructions on how to find the underground railroad leading to freedom.

Wapango by Paquito D'Rivera is originally for woodwind quintet and is a Mexican dance by a composer from Cuba.

I have listed this all out because of what a wonderful program it was.  Classical recitals are seldom this lively and fascinating.  We ended with an unknown encore with singing, including a little audience participation singing.  I loved it all.  I tried to find out what Imani means but failed.

Spiritual Sacramento Philharmonic

The latest performance of the Sacramento Philharmonic and Opera took place in the Cathedral of the Blessed Sacrament, a beautifully decorated space with the usual resonance found in large churches.  They did an excellent job of selecting repertoire that would withstand the echoes.

Our conductor was Douglas Boyd, a former oboist from the UK.  I enjoyed his work.

The concert began with Ralph Vaughan Williams Fantasia on a Theme by Thomas Tallis for post-romantic orchestra.  I am a great admirer of Vaughan Williams and was pleased to hear that they succeeded in developing the color and phrasing to make the piece soar.  With him it's all in how you perform him.  A British conductor performs a British work.

This was followed by a complete contrast:  Psalm Tunes for Archbishop Parker's Psalter, a piece for a cappella choir by Thomas Tallis.  One of the psalm tunes is the theme from the previous piece.  These are short pieces in English which one might expect to hear in an Anglican church.  Tallis composed for both Catholic and Protestant churches during the Tudor period in England.

We finished by combining the resources of both of the previous pieces to present the Gabriel Fauré Requiem.  In addition we enjoyed soloists baritone Timothy Murray, Liisa Davila soprano and Dan Flanagan violin.

Fauré worked as an organist in a church in Paris, and would have heard his Requiem in circumstances very much like this.  This was the highlight of the program.  I especially enjoyed "Pie Jesu" sung by Ms. Davila.

It was a very unusual program for a symphonic orchestra such as ours.

Sacramento Music

I have recently attended a couple of concerts in Sacramento by groups I have not seen before.  It is becoming increasingly difficult for me to get out of town, so I am trying to know more about the place where I live.

Carlos & Brennen are a duo consisting of Brennen Milton on clarinet and Carlos M. Fuentes on piano.  For their recent concert at Crocker Art Museum they added soprano Robin Fisher.  Concerts at Crocker involve associating the repertoire to the current exhibits which in this case are landscapes.  When instrumental groups add a singer, they must track down repertoire for this specific combination.  So they needed pieces for clarinet, piano and soprano which illustrate the outdoors. For this concert we heard:

O Lady Moon by Alan Hovhaness, an American composer.  In this piece a cat and a rat are carrying a barrel of sake over Mount Fuji.

Coty by Quincy Hilliard, from Mississippi.  Daybreak, Sunset, Dance.  This is for only clarinet and piano.  The composer said it reminded him of his home.

Hirtenlied by Giacomo Meyerbeer.  Meyerbeer is most famous as a French opera composer, but this song is in German and translates to Shepherd Song.  The whole trio perform.  Again we are outdoors.

Three Vocalises by Ralph Vaughn Williams.  Prelude, Scherzo, Quasi menuetto.  This features only the soprano and clarinet and has no words.

Silentium Amoris by Carlos McMillan Fuentes, our pianist.  Seduction, Infatuation, Silentium Amoris.  The first two movements are instrumental and the third is the full trio on a poem by Oscar Wilde.

I very much enjoyed the variety of repertoire in this concert.  I'm always ready for something new.  Our clarinetist played from a score on a tablet (iPad?) with a foot pedal to turn pages.  I have a complaint:  they provided a sheet with English texts but did not provide sufficient light to be able to read it.  AND they specifically requested that people not use flashlights.

Sinfonia Spirituosa, a new group directed by Lorna Peters, harpsichord, performed at Clara.  This concert while all from the Baroque, was also varied.

Six movements from the Suite "La Bizarre" by Georg Philipp Telemann.  Overture, Gavotte en Rondeau, Sarabande, Fantasie, Minuet I and II, Rossignol.

Passamezzo and Gagliarda for Two Violins and Continuo by Johann Vierdanck.  I had never heard of this composer, but he was a student of Heinrich Schütz and died young.  For continuo we expected the usual cello and harpsichord, but got only the cello part.  This was very pleasing.

Chaconne in G Minor by Henry Purcell for the full ensemble.  The members of the ensemble varied quite a lot.  Then suddenly came "Curtain Tune on a Ground" from Timon of Athens.  Our version was very uptempo and jazzy sounding.  "Where am I?"  I love Henry Purcell best.

From the tragedie lyrique "Les Boreades" by Jean-Philippe Rameau.  Entree de Polimnie, Gavotte pour les heures et les zephirs, Minuet I and II, Contredanse en rondeau.

Sinfonia Spirituosa in D Major by Telemann.  Spirituoso, Largo, Vivace.  This is the group's theme music.

They are new and in only their second season.  It interests me how much is going on in the provincial city of Sacramento.  I wish them good luck.  If I have a complaint, it is the constant tuning.  This may be necessary with period instruments.

Sacramento Philharmonic 1812 Overture

Christopher Rountree was our conductor for last night's Sacramento Philharmonic performance at the Memorial Auditorium.  The pieces were:

Selections from Aaron Copland's Rodeo.  We heard Buckaroo Holiday, Corral Nocturne, Saturday Night Waltz and Hoe Down.  It's surprising that one seldom hears much from Copland.  The pieces on the program all seemed to form a whole.

George Gershwin's Second Rhapsody.  The first Rhapsody (in Blue) is so famous that it is a surprise to hear this completely unfamiliar one.  The style is similar but the themes are new.  This is basically a piano concerto with the fine pianist Orion Weiss. 

Zhou Tian's Transcend.  Movements:  Pulse, Promise and Done.  his piece was commissioned by the Reno Philharmonic, Sacramento Philharmonic and Opera plus other orchestras, and had its world premiere April 27, 2019 in Reno, NV.  It commemorates the 150th anniversary of the completion of the Transcontinental Railroad in 1869.  Interesting program note:  the rhythm of Done is based on the rhythm of DONE in Morse Code.  I found it enjoyable and showing a strong sense of how to compose for a classical orchestra.  It fit well on a program with Copland and Gershwin.

Hint for the conductor.  There's a trick to holding up your baton between movements that discourages the audience from clapping.  Perhaps the custom of remaining silent between movements is dying out.

Peter Tchaikovsky's 1812 Overture.  This piece shows a Russian perspective and commemorates their successful defense of the invasion of Napoleon.  It's not an overture to anything, but follows the trend established by Berlioz to call a stand alone piece for orchestra an overture.  It is famous because it is scored for cannon which fires repeatedly toward the end.  We were spared an actual cannon.  The drum resembled a cannon heard at a distance.

The pieces were well chosen to go with one another.  There was an excellent crowd.

Scarlata and Kalish at Sac State

Yesterday I attended a vocal recital with baritone Randall Scarlata and pianist Gilbert Kalish at California State University Sacramento as part of this year's New Millennium concert series.  I last saw Kalish in this same series accompanying Dawn Upshaw two years ago. 

What made this particular recital unusual was the emphasis on standard vocal repertoire. How often to you see that these days?  They performed sets by Ives (English), Fauré (French), Beethoven and Schumann (German) with an encore "Ständchen" by Schubert.  These are the mountains of classical song.  To give you an idea of the selections, in this entire program nightingales were mentioned at least four different times, including rossignol in French and Nachtigal in German.

Mr. Scarlata has a particular style of presenting which he employed in all four sets.  He uses gestures, facial expressions and walking rather more than is usually the case, but I found it moving and never too much. 

When Upshaw came, she also did some Charles Ives.  Perhaps Kalish is fond of him, as am I  I was not familiar with any of these but enjoyed their presence.  I like the idea that Ives would become standard repertoire.

Gabriel Fauré setting four texts by Paul Verlaine formed another group.  In my mind Fauré is the greatest of all French chanson composers.  There was a bit of name dropping when Scarlata mentioned discussing repertoire with the great French baritone Gérard Souzay.

For the Ludwig van Beethoven year (250 years since the birth of LvB) we were presented with the very first song cycle, Beethoven's An die ferne Geliebte on poems by Alois Isidor Jeitteles.  It establishes the genre by focusing on an unhappy love affair. 

We finished with the greatest of all song cycles, Robert Schumann's Dichterliebe on poems by Heine.  Scarlata got so excited singing "Ich grolle nicht" that his face turned quite red.  This is a very beautiful set of songs that start sentimental and end tragic. 

There were appropriate changes in style as we moved from one composer to another.  The problem with performing standard repertoire is that one has ones own idea of what one should hear.  I loved the emotion but would have liked a more highly developed idea of legato.  Don't get the wrong idea.  I was very happy to hear this.

ABS Orphean Enchantments

This is sort of a bad news entry.  I have been driving to Davis to see the American Bach Soloists since I moved to Sacramento.  My first entry, I believe, was in 2013.  I was happy about the fact that they played mostly Bach and in excellent style.  I attended performances of the St John Passion, the St. Matthew Passion, the Magnificat, the B Minor mass, Brandenberg Concertos, Orchestral Suites, etc.  That's a lot of Bach.  Occasionally other things appeared.

Well, Monday they performed only one piece by Bach:  Concerto in A Minor for Harpsichord, flute, violin, Strings and Basso Continuo.  Well, that sounds like a concerto grosso to me.  That's a small group of soloists who play both with and without the larger group of strings.  It was just ok.

In addition they played some pieces with Aryeh Nussbaum Cohen, a countertenor.  I have recently warmed up to countertenors, but would always prefer to hear a female mezzo.  Oh well.  I wish I liked him better.  He sang:

Vivaldi's Stabat Mater
Buxtehude's Jubilate Domino omnis terra
Johann Christoph Bach's Lamento
Hoffmann's Schlage doch, gewuenswchte Stunde [previously attributted to Bach.]

This is the first time I have not enjoyed one of their concerts.  Part of this is old age which makes it exhausting to drive to Davis.  The conductor Jeffrey Thomas said that they would be doing less Bach this season.  They would teach us to enjoy other things.  I have only gotten really enthusiastic about their Bach.  That's why I'm here.

Bones of Girls

Composer:  Ryan Suleiman
Librettist:  Cristina Fries
Pianist, music director:  Jennifer Reason
Director:  Omari Tau

Idiot Girl:  Carrie Hennessey  (puppeteers:  Gwenyth Alberto, Mara Patton)
Moon/Father:  Kevin Doherty
Dogs:  Omari Tau (puppeteers:  Ruhan Whittington, Jesse Raga)

Bones of Girls by Ryan Suleiman was given its world premier this weekend by Rogue Music Project in Sacramento.  I enjoyed this quite a lot, but it's going to be hard to explain.

They are in tune with their time.  The music, though scored only for piano, was densely modern.  Interesting remark in the lectures after the opera, "The words take a lot longer set to music."  This was a complaint from the composer.  If they want a lot more words with the same music, they shift to talking.  But no talking here.  That's a current fad.  There did not appear to be any vocal ensembles.  The three singers, Carrie Hennessey, Kevin Doherty and Omari Tau, a kind of priest-like character, sang well this somewhat difficult music.  They created their characters while being upstaged by children.

The story is something that is written about more recently than it was earlier in my lifetime.  A woman remembers sexual advances from her father when she was a child.  In this story he wishes to marry her.  She escapes.  We see this part of her life in a flashback. 

The staging was complex.  The chosen performance space isn't really suitable for a daytime performance, which is what I chose to attend.  The moon shines down, only here just in your imagination.

The four children who are the puppeteers play together before the opera begins.   The girls handle the child Idiot Girl who is quite attractive.  The boys are a pack of dogs as hand puppets.  It was complex and surprisingly moving.  The lively children at the beginning lie inert on the floor at the end.

I found it to be a quality product.

Mozart at the Sacramento Philharmonic and Opera

Our conductor for this all Mozart program was Michael Christie.  In our all Mozart program at the
Sacramento Philharmonic and Opera I didn't notice that he used a baton.  He has won a Grammy.  This concert took place in Fremont Presbyterian and was split into two concerts. 

The program began with Mozart's Symphony No. 41 "Jupiter."  The program did not list the movements, as I believe is still traditional.  I admit that Mozart's symphonies are more standardized than other composers, but I still like seeing the movements.  This was good but not thrilling.  Mr. Christie's tempos are a bit fast IMHO.

We were treated to semi-staged opera scenes from Mozart's Cosi fan tutte and Le nozze di Figaro.   These were remarkably well coordinated since neither the conductor nor the singers could see one another.  The following cast listings are made up by me, since nothing in the program lists these.

Ellie Dehn, soprano -- Despina in Cosi, Susanna in Nozze.
Jana McIntyre, soprano -- Fiordili in Cosi, Marcellina in Nozze.
Julie Miller, mezzo-soprano -- Dorabella, in Cosi, Countess in Nozze.
Michael Day, tenor -- Ferrando in Cosi, Basilio in Nozze.
Benjamin Taylor, baritone -- Guglielmo in Cosi, Count Almaviva in Nozze.
James Hayden, bass-baritone --     ,  Figaro in Nozze.
Scott Levin, bass-baritone -- Don Alfonso in Cosi, Gardener in Nozze.

The singers all wore standard concert attire except Doctor Despina.

Act I Finale to Cosi fan tutte begins when the two lovers in their disguises pretend to take poison.  Robitussin is Doctor Despina's cure.  The supertitles were loosely translated for laughs. 

Act II Finale to Le nozze di Figaro begins just before Susanna steps out of the Countess's wardrobe instead of the expected Cherubino.  This is an excellent place to begin since you cannot have a Cherubino without a costume of some kind.

These are two of Mozart's magnificent ensemble scenes in opera.  He comes in an era when most opera consisted of a series of arias with perhaps a duet here or there.  Amazing ensembles are a treat, and these were beautifully sung with a real sense of ensemble.  The two sisters in Cosi were especially beautiful together.

Sacramento Philharmonic opens Season

Sacramento Philharmonic and Opera with Andrew Grams, conducting, opened their 2019-2020 season last night in Memorial Auditorium with:

WAGNER Tannhäuser March
MENDELSSOHN Violin Concerto

• Allegro molto appassionato
• Andante
• Allegretto non troppio; Allegro molto vivace

TCHAIKOVSKY Symphony No. 6 "Pathétique"

• Adagio-Allegro non troppo
• Allegro con grazia
• Allegro molto vivace
• Adagio lamentoso

TCHAIKOVSKY Prelude to Eugene Onegin as an encore.

Maestro Grams opened the season last year, too.  He is entertaining, and brings a lot of enthusiasm to his performances. William Hagen was the solo violinist for the Mendelssohn violin concerto.  I don't think I've had this much fun listening to Mendelssohn before.  Grams and Hagen made a great match.

Tchaikovsky's Pathétique Symphony is very long and ends quietly.  This is confusing for the audience.  One would rather clap at the end of the first or third movements.  The conductor should signal that he is finished, but he didn't.  This is a very beautiful and wide ranging symphony which is wonderful to hear.

It was good to see Maestro Grams again.

The Yeomen of the Guard

Conductor:  Anne-Marie Endres
Director:  Debbie Baad
 
Our Cast
Sir Richard Cholmondely (Lieutenant of the Tower): Timothy Power
Colonel Fairfax (under sentence of death): Anthony Tavianini
Sergeant Meryll (of the Yeomen of the Guard): Mike Baad
Leonard Meryll (his Son): Samuel Palmer
Phoebe Meryll (his daughter): Paige Kelly
Jack Point (a Strolling Jester): Charlie Baad
Elsie Maynard (a Strolling Singer): Jadi Galloway
Wilfred Shadbolt (Head Jailer and Assistant Tormenter): Eric Piotrowski
Dame Carruthers (Housekeeper to the Tower): Lenore Sebastian
Kate (her Niece): Rebecca Cox


Gilbert and Sullivan's The Yeomen of the Guard played last night by the Sacramento Light Opera Theater.   If I stay in Sacramentlo long enough, Perhaps I will see them all.  This work is alternately called The Merryman and His Maid, which refers to the two strolling players. The action takes place inside the Tower of London during the reign of Henry VIII.  The yeomen guard the tower, as they do today.  They managed some excellent uniforms for them.

There is much to be explained here.  Some questions:

• Why is Colonel Fairfax under sentence of death?  Wikipedia says sorcery.
• What are Strolling players doing inside the Tower (not tourist attraction then)?
• Why does Colonel Fairfax want to get married before he dies?  Wikipedia says doesn't like heir.
• etc.

Plot:  Wilfred loves Phoebe, Phoebe loves Colonel Fairfax who is scheduled to die the next day.  Leonard wants Fairfax released because he saved his life in battle.  Leonard, his father and his sister hatch a plot where Leonard will hide and Fairfax will pretend to be him.  Phoebe steals the key from Wilfred and off we go.

Side story:  Fairfax wants to die married so his evil relation will not inherit his estate and offers a bribe to any woman who will marry him.  Elsie marries Fairfax in secret, Leonard hides and Fairfax appears in disguise as Leonard.

We end up with three happy couples and one very sad Jack Point.

The diction could have been better.  The songs were titled but the dialog was not.  I should have returned to the old days and read the plot before.  The music was excellent and well done.  My favorite singers were Anthony Tavianini and Jadi Galloway, the main couple.

Two Operas about Women

Conductor:  Ryan Murray (new opera theater director)
Stage Director:  Gia Battista
Piano:  Renee Harris

California State University Sacramento performed two operas last night. 

Game of Chance by Seymour Barab

First knitter:  Taylor Graham
Second knitter:  Katie Thorpe
Third knitter:  Valerie Loera
The representative:  Justin Ramm-Damron

This is the second time for this opera at Sac State.  So what is the attraction?  Three women are knitting their lives away and wish for something else.  The attraction is that each of them gets a nice solo scene.  A man comes to take them away to their dream.  At the end they are discontented and wish they had asked for more.  As a person who became a systems analyst in her 40s, this seems absurd.  Why settle?  There's not a lot that can be done with this opera.

fichu

Amelia Goes to the Ball by Gian-Carlo Menotti

Amelia:  Angela Yam
The Friend:  Valerie Loera
The Husband:  Michael Carey
The Lover:  Aaron Gallington
The Chief of Police:  Justin Ramm-Damron
First Maid:  Taylor Graham
Second Maid:  Monica Serrano

This is fun.  There is nothing in this opera that is actually about a ball.  It's all about getting there.  At the start the maids are helping Amelia dress while her friend urges her to hurry.  I have included the above so that all may see what a fichu looks like.  Amelia searches for hers without success, thus causing the delay.

Before she finds it husband arrives home.  He accuses her of having a lover, which she admits on the condition that he will take her to the ball.  He lives upstairs.  Husband goes looking and lover enters.  The Lover was played very much for laughs.  Aaron Gallington was an amusing physical comic with lots of odd looking gestures.  The opera ends with husband knocked out and taken to the hospital, lover accused of theft and taken off by the police, and finally with Amelia going off to the ball with the Chief of Police.  We have to assume that all is well.

This opera is a vehicle for the woman who sings Amelia, in our case Angela Yam who was impressive.

Camerata Deia

Camerata Deia is an ensemble of varying composition that came to Sacramento last night from their home base in Spain to conclude this season's Millennium Concert Series.  Two of our pieces included piano, so I have included a picture that shows one.  They played.

Joaquin Turina's Piano Quartet in A minor Op.67 (1931) in three movements.  The program seems to be full of mistakes.  This one says Turina's dates are 1833-1897 while Wikipedia says 1882-1949.  Based on the sound of the music, I am inclined to go with the latter.  There are hints of modernism but nothing too extreme.

Enrique Granados's Piano Quintet in G minor, Op.49 (1894) in three movements.  The program identified a fourth movement which did not exist.  I liked this piece.

Mendelssohn's Octet in E-flat Major, Op. 20 (1825) in four movements.  This is for two string quartets together.  The third movement was interestingly named Scherzo:  Allegro leggierissimo.[the most amount of leggiero].  You remember a leggiero tenor?  This would sort of translate to the most amount of not legato.  There was a lot of bow bouncing.  A 16 year old might get off on this.  It's a fun piece.

This concert series usually emphasizes chamber ensembles.  I liked the music selection.

Tanya Végváry Plescia pianist

Berceuse by Tanya Vegvary (2015)
Lullaby for Elijah by Tanya Vegvary (2010)
Sonata in Bb Major, Molto moderato by Franz Schubert (1828)
-Interval-
Chopin, Etudes Opus 25 No, 1, 2, 3
Chopin, Fantasy Impromptu Opus 66
Waiting for a Call by Tanya Vegvary (2018)
Geary Street by Tanya Vegvary (2005)  [The one in San Francisco]

I attended the Saturday Club performance of Tanya Végváry Plescia last night.  She has a school called the Sacramento Piano Conservatory where she performed for us.  She explained that this way she gets to play her own piano which is voiced heavy in the bass, as she prefers.

Her existence and the existence of her school was new to me.  The test of a pianist is Chopin, of course, and she passed.  She showed plenty of rubato and played as loud as necessary.  She said he's her favorite, and her own music seemed to descend from this style. 

I'll have to keep my eye out for her.

Rigoletto in Sacramento

Conductor: Michael Christie
Director: Michael Mori

Rigoletto……………………Joshua Jeremiah (baritone)
Duke…………………………Rafael Moras (tenor)
Gilda…………………………Monica Dewey (soprano)
Sparafucile………………..Kenneth Kellogg (bass)
Maddalena………………..Julie Anne Miller (mezzo)

This concert performance of Verdi's Rigoletto at the Sacramento Philharmonic and Opera had a real director who with a few tables and chairs successfully staged this complex opera in the area in front of the orchestra.  Coordination between the singers and the conductor appeared to be smooth, and occasionally a singer would look out into the audience in a way that looked like more than just wanting to face the audience, so I could not resist turning to see if there was something they were looking at.  Yes.  Large screens under the balcony focused on the conductor.  Professional hands at work.  Small details of the plot were clarified.

This is the last performance of the classic season in the Sacramento Community Center.  Next year Sacramento Philharmonic and Opera will perform in the Memorial Auditorium, Fremont Presbyterian (the presence of a  quality organ suggests a concert that includes organ), and the Cathedral of the Blessed Sacrament.  In the fall of 2020 they will return to the community center.

The singing was top notch.  Our Rigoletto both sang and acted well.  One forgets that the story is about Rigoletto until such an excellent actor shows us his emotions.  Rafael Moras sang the Duke of Mantua, very much a singing role.  He has a bright sound that many would love and a spectacularly penetrating high C.  We predict good things.

I liked the child-like portrayal of Gilda by Monica Dewey.  I also liked her Caro nome.  She is young and has already had her European debut.  Sparafucile was a real bass with a spectacular low f.  Everyone took their high notes.

We clearly have professional casting at work.  Congratulations for a marked step up in the quality of this semi-staged Verdi performance.  We all continue to be astonished that the orchestra improves steadily throughout this period when they have no regular conductor.

Garrick Ohlsson in Sacramento

Last night at Sacramento State University we had a treat when the pianist Garrick Ohlsson performed an all Brahms program for us.  This is my interpretation.  Please remember I am far from being deeply informed on the subjects of piano repertoire and technique.

Three things.

Brahms was interested in maintaining and developing the forms of the classical masters.  In this category we find the piano Sonata in F-sharp Minor Op.2 (1853).  This is the standard four-movement form developed by Mozart and Beethoven.

Another classical form that Brahms continued was the theme and variations, here represented by Variations and Fugue on a Theme by Handel, Op. 24 (1861).

The Romantics Chopin and Schumann were both born in 1810 and were perhaps his strongest influences.  Brahms was born in 1833, a generation later.  The rest of our program was filled primarily with character pieces, primarily Intermezzi (1893, 1892).  The character piece, a one movement piece with no strict form, was developed by the romantics.

Are we sufficiently educated?  There were no program notes, so I am trying to fill in a bit.

The biggest hit of the evening was the variations and fugue at the end.  Brahms seemed to like alternating hands with a few overlapping notes to create a characteristic texture.  After a rousing standing ovation, Garrick played an encore by Chopin which seemed to show this same texture.  I'm glad I stayed all the way to the end.

American Bach Soloists Matthew Passion

And last night I drove to Davis in the rain to see Bach's Saint Matthew Passion sung in German.  For the beautiful work of the American Bach Soloists led by Jeffrey Thomas this is a short trip.

In my youth I performed a lot of Bach, including the "Erbarme dich" from this work.  I very much admired the performance of mezzo-soprano Agnes Vojtko who sang it here.  The entire piece lies in my heart like a buried treasure.

A performance of this monumental, life altering work rises and falls with the evangelist, here Guy Cutting, and the singer who performs Jesus, here William Sharp, both excellent in their roles.

With American Bach Soloists there are no weaknesses.  The original instruments orchestra lists the makers of all the instruments below the players' names.  The concert mistress Elizabeth Blumenstock plays a Guarneri.  The style is perfection, and how can anyone resist the tiny booming chorus.

Thank you.