New conductor energizes symphony
Season begins with tight, innovative performance

By DIANE PETERSON
The Press Democrat, October 16, 2006

The Santa Rosa Symphony's 79th season got off to a solid start under new music director Bruno Ferrandis, who gave the all-Russian program dramatic heft and shape.

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The lanky French conductor led the orchestra Saturday night with efficiency and verve, punching out cues with the long fingers of his left hand and using his lithe body and baton to keep the music flowing.

It was an auspicious debut for the 46-year-old Ferrandis, who was chosen last March as the fourth music director in the symphony's 78-year history. Already, the conductor and his orchestra seem to be creating a new sound together.

Despite a long hiatus, the orchestra has rarely sounded better, from intonation and ensemble to overall balance and dynamics. After intermission, when a mysterious buzz in sound system disappeared, they sounded even better.

Santa Rosa Symphony Executive Director Alan Silow welcomed Ferrandis before the concert, introducing him as "A man of the world who excels at the art of being himself."

During the preconcert talk, Ferrandis made a statement by inviting flautist Stacey Pelinka on stage with him to speak about the musical program and answer questions. It doesn't get more collegial than that.

"The people are welcoming and take the time to smile," he said, when asked about his impressions of Santa Rosa. "And I do like the wine, too," he joked.

The concert opened with Shostakovich's "Festive Overture," a crowd-pleaser with a slight, ironic edge.

Bowing to the audience and turning quickly, Ferrandis gave the downbeat, and the orchestra leaped out of the gate like a racehorse. Together, they nailed this irresistible curtain-opener with precision.

Before intermission, the rising young pianist Joyce Yang flexed considerable muscle as she pounced upon Prokofiev's Piano Concerto No. 2. The native of Korea wore a long, jade green gown but might as well have been wearing a gymnast's leotard for all the athleticism she displayed.

Yang dove into the prickly concerto with steely strength, especially in her left hand, and nimbly stretched tempos during the piano's unaccompanied passages without losing control.

The orchestra made a strong case for this provocative work, which begins with a dreamy first movement, veers off into a machine-like scherzo, turns mocking and sardonic, then culminates with an over-the-top finale.

Ferrandis gave generous support to Yang during the virtuosic concerto, and both artists and the orchestra were rewarded with an enthusiastic standing ovation.

After intermission, Ferrandis flexed his interpretive muscles during Tchaikovsky's iconic Symphony No. 4. Relaxed yet always in control, he molded the well-known warhorse into an organic whole, complete with singing phrases and precise rhythms.

As he promised during the preconcert lecture, Ferrandis took a few risks with the tempos in the Tchaikovsky. The syncopated first movement gained power from a slower tempo, while the finale galloped by at a nice clip.

But the searing second movement, with its tender oboe solo, provided the most satisfying experience of the evening.

By naturally molding the musical phrasing and expression, Ferrandis already has accomplished one of his goals: to incorporate song, dance and theater into the symphonic program.

The Santa Rosa Symphony will repeat the Saturday performance at 8 tonight at the Wells Fargo Center for the Arts, 50¬Mark West Springs Road in Santa Rosa.

Tickets: $27-$50. 546-8742.