The Press Democrat  Classic literature inspires concert Monday, January 14, 2002 By Diane Peterson  With the new year fully launched, the Santa Rosa Symphony took off Saturday night with a program that brought literary classics to life before the audience's ears. Led by Jeffrey Kahane, the symphony presented 19th- and 20th-century pieces inspired by two beloved works: Shakespeare's tragic play "Romeo and Juliet" and Cervantes' satirical novel, "Don Quixote de la Mancha." The educational bent of the evening was hard to ignore. Two of the symphony's youth orchestras performed in the lobby beforehand, and actors read poetry from "Romeo and Juliet" as a prologue to each piece performed before intermission. The symphony gets extra credit points for the latter -- both Steven Abbott and Danielle Cain of Actors' Theater wove a magical spell with their soliloquies delivered from a balcony overlooking the stage. With the exception of the curtain-raiser, Berlioz's "Queen Mab" scherzo from "Romeo and Juliet," the program consisted of big, bombastic works -- excerpts from Prokofiev's "Romeo and Juliet" ballet, written in 1935, and Strauss' "Don Quixote," written in 1897. Bitterness is evident in both of these works, but especially in the dissonant opening of the Prokofiev, which was so powerful that the audience recoiled physically, as if they had been assaulted. In terms of sheer energy and gestural power, the Prokofiev came across most convincingly, with the sweet, singing strings providing a foil for the mocking woodwinds and snarling, sardonic brass. Particularly noteworthy were solos by concertmaster Joe Edelberg and principal violist Linda Ghidossi-DeLuca in "Romeo and Juliet Before Parting," and principal cellist Wanda Warkentin in "Juliet the Young Girl," along with Mark Shannon on tenor sax throughout. Listening to the excerpts in the orchestral suite is a little like reading a Cliff Notes version of a book -- you're still hungry for the entire meal. Nonetheless, the suite works well in concert, showcasing the Russian composer's uncanny ability to blend lyricism and satire. After intermission, the symphony tilted its bows and drumsticks against Strauss' "Don Quixote." Although the work once shocked Strauss' contemporaries as vulgar and sensational, this powerful and passionate piece is now impossible to resist, with its colorful depictions of turning windmills, braying sheep and other knightly escapades throughout its 10 variations. I'd pit Strauss' depiction of Quixote flying against any John Williams soundtrack.  The densely orchestrated tone poem poses quite a challenge for orchestral ensemble, however. Most of the time, the symphony met that challenge, although there were a few rough spots here and there. Sweeping onstage like a dark-haired Fred Astaire, guest soloist Carter Brey executed his extended cello solo with flawless technique and profound expression, especially in the pianissimo passages. Brey, who serves as principal cellist of the New York Philharmonic, was joined by violist Ghidossi-DeLuca as Quixote's squire Sancho Panza for several solos, and the violist held her own with her usual warm tone and impressive bow technique. Both received standing ovations. For the curtain-raiser, the symphony pulled off Berlioz's sprightly "Queen Mab" Scherzo with panache. The muted miniature, a string exercise in spiccato and pizzicato, flew like the wind.