Classical Music Reviews
Every week, our professional critics attend concerts throughout the Bay Area to let you know what went well...and occasionally what didn't. Let their insights enrich your musical experiences, and feel free to share your own views!
A full and appreciative audience greeted the local farewell program of the Beaux Arts Trio Sunday evening in Herbst Theatre, presented by Chamber Music San Francisco, as the ensemble is about to bring down the curtain on its glory-filled concert career.
To mark the occasion, Mayor Gavin Newsom even issued a keys-to-the-city proclamation that declared April 20 to be "Beaux Arts Trio Day in San Francisco." I don't know about the day, but it was surely the Trio's night, for it played an exceptionally subtle program, even by its traditionally high standards.
The present efflorescence of countertenors on the vocal scene has allowed us to see the possibilities and individual variations in the voice type. Not surprisingly, since huge opera houses like the Metropolitan increasingly offer at least one Handel opera each season, we've discovered the large, thrilling voices in this category, dominated by David Daniels.
The Crowden Music Center's [email protected] concert series is by now a popular feature of the North Berkeley classical music scene, to judge by the eager audiences I see whenever I attend. One program a season goes to a Crowden School alumnus, and last Sunday that guest was Owen Dalby, now through with his studies at Yale and teamed up with fellow Yalie Alexander Rabin in a violin–piano duo.
“The 51% Majority” was the title of the Empyrean Ensemble’s program of compositions by female composers last Friday at Old First Church in San Francisco. Of the featured music, 52.4 percent (three and two-thirds of the seven pieces) was unexceptional — no surprise considering that contemporary classical music hasn’t been time-filtered enough. But the rest made the concert more than worthwhile.
Adam blamed Eve for yielding to temptation, and Elizabethan poets sighed over the inconstancy of women. In Mozart's opera Così fan tutte, men go to extraordinary lengths to test women's constancy. And so they did Sunday at the Legion of Honor, in Pocket Opera's production.
Opera San José’s production of Mozart's Magic Flute, seen Saturday, got me thinking about the issue of time in opera. Not the minutes that we, the audience, spend in our seats, but how time is portrayed on the stage and how the singers as actors must accommodate that flow.
With its latest release on the Dorian label, Musica Pacifica returns to repertoire that has earned it a fiery reputation, the virtuoso Italian repertoire of the mid-18th century. The disc centers on the most venerated master of the concerto, Antonio Vivaldi, but is fleshed out with concertos by two different Giuseppes, Tartini and Sammartini.
What a joy to experience Kate Royal in person! Looking for all the world like a Greek goddess, draped in a form-fitting, floor-length black dress secured over one shoulder, the elegant young soprano gracefully entered Hertz Hall to present her Cal Performances recital.
San Francisco Conservatory of Music's young artists went way back in time to present an opera three-and-a-half centuries old, last weekend in Fort Mason Center's Cowell Theater. Richard Harrell, director of the Conservatory's Opera Theater, has bravely (and judging by the results, wisely) selected Francesco Cavalli's 1643 L'Egisto, a sensation in its time, but virtually impossible to find performed today.