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!
It was a bit like "second-try night." Only last fall, three of the principals in San Francisco Lyric Opera's current production of Benjamin Britten's Turn of the Screw — Anja Strauss (the Governess), Brooks Fisher (Miles), and Madelaine Matej (Flora) — appeared in the same roles in Oakland Opera Theater's abysmal production of that opera.
Earplay's 23rd season came to an end Wednesday night at Herbst Theatre with a concert of four chamber pieces written over the past quarter century, plus a major work by British composer Peter Maxwell Davies from 1975: his ample, richly textured Ave maris stella (Hail, star of the sea), for six instruments. Based on a plainsong theme with nine continuous variations, and lasting 25 minutes, the piece is dedicated to the memory of a friend and fellow member of the trailblazing chamber ensemble The Fires of London.
In a fitting conclusion to a season that has featured works like Maurice Ravel's Mother Goose Suite and William Bolcom's Fairy Tales, the Gold Coast Chamber Players ended their 2008 cycle with a program of musical knickknacks both familiar and obscure. Works by Franz Schubert were paired with a rarely heard suite by Bohuslav Martinů in an afternoon of informal pleasantry, enhanced by the ski-lodge-like comfort of the Soda Center at St. Mary's College in Moraga.
Although Johannes Brahms carried great pain over his apparently unconsummated relationship with Clara Schumann, the heartfelt beauty of his most popular music speaks far more of resolution and transcendence rather than enslavement to suffering. Nowhere is this more apparent than in the great German Requiem, Op. 45, with which Michael Tilson Thomas has chosen to close San Francisco Symphony’s three-week Brahms Festival. Ein Deutsches Requiem is huge and monumental, if not as heaven-shaking as Verdi's masterpiece.
Nothing about cellist Lynn Harrell's two all-Bach recitals last week in Grace Cathedral could be called ordinary, except for his insightful virtuosity. First and most strikingly, those performances of J.S. Bach's six highbrow Suites for unaccompanied cello, BWV 1007-1012, were presented as part of the four-month jazz festival, titled the 9th Annual SFJAZZ Spring Season. Then too, the vast space of the cathedral atop Nob Hill seemed an unlikely venue for solo cello music. To my surprise, this worked.
The Left Coast Chamber Ensemble is unique among the Bay Area's new-music-focused ensembles in spending a fair amount of time outside the 21st or even 20th centuries. LCCE programs typically juxtapose new, 20th-century, and yet older works playable with a particular clutch of four or five instrumentalists, the instrumentarium changing from program to program as each of the ensemble's 12 players gets a lick in.