Reviews

The good ship Pinafore sailed into Walnut Creek Thursday, mooring at the Lesher Center. She was manned by the Lamplighters, arguably the best Gilbert and Sullivan crew in the world. H.M.S. Pinafore is a delightful spoof on the subjects of class, rank, and bureaucracy.

If thoughts of nonprofessional community choruses make you cringe, rest assured: The San Francisco Choral Society is something else.

Choral directors who tackle Gesualdo’s Tenebrae Responses do so at their own peril.

Mythological absurdities, deadly rivalries, and over-the-top emotion — topped by the 20-minute death throes of oversize sopranos — are familiar opera cliches.

What do you know: a grand operatic discovery at a chamber-music concert. But consider the source. He was both the "Paganini of the Double Bass" and the conductor of the Cairo premiere of Verdi's Aida.

Animals, anthropomorphic and otherwise, were honored in the marvelously performed and interesting second program of the increasingly well-heeled Music@Menlo festival. A large and enthusiastic crowd was particularly pleased with the final number, Camille Saint-Saëns' Carnival of the Animals, but every selection was well-received, enjoyed by audience and musicians alike.

Mozart's music and reputation were extremely well-served Friday evening in Herbst Theater as George Cleve conducted a beautifully built concert of the Midsummer Mozart Festival. The concert offered two well-known major masterpieces and two short but rarely encountered arias.

The Napa Valley's second annual Festival del Sole continued last Wednesday with another stellar performance by the Russian National Orchestra in Yountville's Lincoln Theater.

On a January morning a few years ago, I received a telephone call from an eminent professor of classical music. "Guess whose birthday it is!" he giggled. "No idea." His hint, "Your least favorite of the great composers!" caused me to reply, "Ah — it must be Mozart!" But the many pleasures of the first program of the Midsummer Mozart Festival, as well as advancing age, have changed my mind.

The world of music has several types of 22-year-old composers — brash, confident ones; shy, talented ones; and painfully insecure ones who look to the past and worry that they were born several generations too late. Last Thursday, the Carmel Bach Festival presented works by each of these types.