On Thursday, July 22, the Carmel Bach Festival presented at Sunset Center an evening of music devoted to George Frideric Handel (1685-1759). Under the direction of Andrew Arthur, the evening’s concert showcased superb instrumentalists and some fine ensemble playing by members of the Festival Orchestra.        

In addition to conducting the orchestra, Arthur also gave us some brilliant keyboard performances throughout the evening. In the opening work, the Concerto for Organ in G Minor, Op. 4, No.1, HWV 289, Arthur was masterful in melding the organ’s solos into the complex orchestral textures. His dual techniques of conducting and playing organ were visually impressive, and his two quite separate skills enhanced the performance of the concerto considerably. While sustaining long notes on the organ, Arthur guided the Festival Orchestra in synchronizing the “endless melodies” that were the theme of the program. A master of details, Arthur’s articulation was clear, his ornamentation stylish, and his phrasing delightful as he repeatedly linked musical phrases from organ to orchestra.

Tenor Thomas Cooley sang some of the very familiar arias from Handel’s Messiah with a masterful command. Although these tenor arias have received countless performances and recordings, Cooley brought originality and vitality to them during this program. Every detail of vocal technique and interpretation was well crafted ― his use of aspirating consonants, shortening and lengthening of vowels, florid passages, ornamentation, and interpretive vitality were impressive. Equally impressive was the Festival Orchestra in its supportive role. Because of the lighter, smaller ensemble, the details of its execution of Baroque ornamentation and phrasing truly enhanced Cooley’s fine dramatic performance.

The Suite No. 7 in G Minor for Solo Harpsichord from Die acht groβen Suiten, gave Arthur an opportunity to showcase his exceptional technical and dramatic abilities. Throughout the entire piece he achieved an expressive legato line, even though the legato capability of the harpsichord is limited. It was amazing to hear how successful he was in creating so many nuances of rubato, ritardando and phrasing. Especially impressive in the Passacaille, were the rapid left hand octaves, the careful and clean chromatic passages, and the clear shaping of phrases in the left hand. 

The Concerto Grosso in A Major, Op.6, No. 11, HWV 329 that ended the evening’s program was especially successful. The members of the Festival Orchestra were violinists Emlyn Ngai, Gabrielle Wunsch, Ann Duggan, Elizabeth Stoppels Girko, Naomi Guy, and Amelia Roosevelt,  violists Karina Fox and Sarah Darling, cellists William Skeen and Timothy Roberts, double bass Jordan Frazier, and, of course, Andrew Arthur playing  harpsichord and organ. The delicate and sensitive solo playing of the trio by Emlyn Ngai, Gabrielle Wunsch and William Skeen highlighted the very high standards that were established throughout the evening. Not only were we listening to some of Handel’s finest instrumental works, but they were performed brilliantly by some very fine instrumentalists. Special thanks are owing to Lee and Shirley Rosen who sponsored this concert.

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On Sunday afternoon we heard Bach’s, St. Matthew Passion, BWV 244, directed by Maestro Bruno Weill in his farewell season with the Carmel Bach Festival at Sunset Center in Carmel. We heard many fine moments from the orchestra, chorale, youth chorale, and soloists — so many details were beautifully calculated by the Maestro to accentuate the dramatic and musical events of this great masterpiece. Bach’s use of texture, melody, chromaticism, harmony, dissonance, modalities, orchestration, double chorus and instrumental writing were precisely controlled in this performance, and the placement of tempi, phrasing and dynamics were communicated to each musician in a way that encouraged them to perform at their very best. That we have a Bach Festival at all is a testament to how people continue to be deeply moved by the intellectual and spiritual, stimulation his music inspires.

There were many highlights during the afternoon. Clearly one of the great moments was Elizabeth Wallfisch’s violin obbligato solo in Erbarme dich with mezzo-soprano Sally-Anne Russell. Wallfish’s depth of understanding of each phrase, note and embellishment was artistically impressive. Ms. Russell’s performance was just as stunning as she skillfully maneuvered her resonant voice through florid embellishment and rich melodic lines. 

Bach used the chorus to rhythmically highlight the drama of the text giving more meaning to the soloist’s performances. Many choral entrances were musically and rhythmically precise, and the chorale rose to the challenge with excellent diction and phrasing. Among the many of the solos sung by members of the chorale, the role of Jesus was sung by David Newman. His singing had a memorable flexibility and resonance. Allan Bennett, Evangelist, gave vibrancy and commitment to his role throughout the afternoon. The chorale’s singing of Kommt, ihr Töchter, helft mir klagen and Wir setzen uns mit Tränen nieder, at the beginning and end of the oratorio set a high standard for the entire concert and reflected the excellent choral direction of Andrew Megill. The inclusion of the youth chorus, directed by John Koza, in the first half of the program was an inspired touch — we are sure that being a part of this significant production is an experience none of the members of the youth chorus will ever forget.

In every entrance of soprano Kendra Colton’s singing displayed sheer beauty of tone and technique. Her aria Ich will dir mein Herze schenken, was impressive, and the accompanying woodwinds were but one example of the fine orchestral playing and accompanying we heard during this performance.  Baritone Sanford Sylvan executed his aria Mache dich, mein Herze, rein with precision and elegance. The tenor aria Ich will bei meinen Jesu wachen was brilliantly sung by Thomas Cooley with again the woodwinds and chorus adding more completely delightful accompaniment.  Included in the fine ensemble playing throughout the afternoon were Patrick Jordan, viola d’amore; Robin Carlson Peery, flute; Roger Cole, oboe and oboe da caccia; Neil Tatman, oboe; William Skeen, viola da gamba; Allen Wheat, cello; Dominic Teresi, bassoon; Daniel Swenberg, archlute; Andrew Arthur and Michael Batrie, organ. The musicians and singers were at their best this afternoon, as if to savor one of the remaining opportunities to perform with Maestro Weill. Carmel has been truly blessed  to have this distinguished director at the helm of the Carmel Bach Festival for many years. Kudos to Bruno Weill!
                  
                        Robin McKee Williams
 
 
 
Robin McKee Williams, MA, CMVT, is an active musical director and mezzo-soprano soloist for the Monterey Peninsula and San Francisco areas. Her training includes the Royal Conservatory of Music, Stanford University, San Jose State University and the McClosky Institute of Boston. She is presently pursuing a DMA degree from Boston University.

The Camerata Singers directed by John Koza presented an evening of choral music at the First United Church in Pacific Grove on Saturday, May 15^th. This included many centuries of singing from Ambrosian chant to the Duruflé Requiem.

The evening began with sacred works contrasting a 4^th century Ambrosian chant Kyrie with a 20^th  century Kyrie by Knut Nystedt. The entire program focused on the development of liturgical plainchant spanning more than sixteen centuries. The haunting melodies of both Kyries set the mood for the entire concert. The Camerata Singers sang with security, intelligence and feeling. Their phrasing was nicely coordinated to enhance the high points of each phrase. Suspensions and dissonances were finely controlled and final cadences had sensitivity and finality. This was a concert that was both musically and historically interesting.

Two settings of Bogoroditse D’evo, one by Sergei Rachmaninoff and the other by local composer and Camerata singer Jefferson DeMarco, were similarly based on liturgical chant. The Vespers has been considered possibly one of Rachmaninoff’s finest compositions. Rachmaninoff’s genius in building dynamics and texture in his Bogoroditse Devo was impressively sung by the Camerata Singers. The high point of the composition beautifully shimmered in complex harmonies and a full choral sound. Mr. DeMarco’s Bogorodiste D’evo was gracefully sung by the Camerata Singers. Mr. DeMarco’s influence as a singer could be heard in his construction of long, flowing phrases. The lovely contrast of women’s voices added a quiet simplicity and purity to the opening phrases. Mr. DeMarco’s angelic composition left us wanting to hear much more of his distinctive musical ideas.

Anton Bruckner’s Three Motets demonstrated an intelligent and reserved choral sound, and its Gregorian chant-like lines revealed the influence of Renaissance composers. Although a small ensemble, the Camerata Singers handled Bruckner’s large sound blocks well with a fine understanding of the musical lines which, in addition to Gregorian chant, also tended to show the influence of Renaissance polyphony, Wagner, and the Viennese post-Romantic traditions.

            The highlight of the evening was the performance of the Requiem by Maurice Duruflé with Tiffany Truett Bedner, organist. The organ in this church is probably one of the best instruments on the Monterey Peninsula. Ms. Truett’s organ playing was very impressive and solid. Ms. Truett, also an accomplished pianist, is clearly a serious organist. She played with strength and conviction. Ms. Truett understood the complexities of accompanying a chorus, for singers are able to produce tone more rapidly and automatically than the organ. When the organist strikes a key there is a slight delay before the sound is heard. Coordinating voices with organ is especially difficult in an acoustical space as live as the First United Church. Ms. Truett demonstrated an exceptional gift to coordinate this subtle but very important skill.

           The Camerata Singers’ sound in the Requiem was light, yet had substance in dynamic contrasts − mostly straight toned and pleasantly cool. This was a very flattering sound for the acoustical space and added to the ambiguous modality of the Requiem. This serious group of professional and amateur singers appeared to be reserved in its presentation, yet was precise and expressive with a controlled reserved sound that enhanced the effectiveness of the Requiem. Soprano Tonya Legaspi sang with a lovely precision, with every word well placed and secure. Baritone soloist Michael Russell’s passion added depth to his beautiful singing. Both these soloists were selected from Mr. Koza’s ensemble, which reflects the high quality of vocalists in this volunteer group. 

It is inspiring to hear a high caliber of singers who devote their time and effort for the sake of beautiful music. And the Duruflé Requiem is one of the most beautiful choral pieces ever written. Well done, Mr. Koza!

Robin McKee Williams has directed musical theater at the Forest Theater, Carmel Ballet Academy has been the youth musical director at Western Stage. She presently teaches voice privately in Pacific Grove, Santa Catalina, Stevenson School and Hartnell College. She is credentialed from the McClosky Institute of Boston as a voice specialist.

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On Friday evening, May 14, the Carmel Music Society presented soprano Devon Guthrie, the Grand Prize Winner of the Society’s 2009 Vocal Competition. Guthrie is a young soprano from New York whose training includes a Bachelor of Music degree from the Manhattan School of Music and a Master of Music degree from Juilliard, where she studied voice with Marlena Malas. Presenting a selection of songs spanning several centuries and languages, her lovely voice and fine vocal technique gave us an evening full of expressive and dramatic moments. It was exciting to hear a young singer who has the potential for a significant career. Guthrie was accompanied by pianist Nathan Brandwein who is presently a C.V. Starr Doctoral Fellow in Collaborative Piano at The Juilliard School, and he played brilliantly throughout the entire concert.  

In her first set of songs by Respighi, Guthrie easily convinced us of her innate talent and musical sensitivity. With an impressive stage presence focusing on transmitting musical meanings in each song, she demonstrated a fine control of dynamics, interpretation and Italian phrasing. The second set of songs by Strauss showcased Guthrie’s ability to demonstrate her lovely control of dynamics, which were always musically convincing, and her German diction was very precise as well. 

Ricky Ian Gordon’s songs were especially expressive. The Blessings of the Boats was particularly lovely in its phrasing and understanding of the melodic lines. Her dramatic nuances were heartfelt and easily accentuated the composer’s use of dissonance and consonance.

There was something quite refreshing about Guthrie’s Mozart in the second half as she brought to the phrasing a unique sound by connecting words and emotions in a distinctive and energetic way. Her legato line emphasized specific words yet maintained the long flowing quality of Mozart’s melodic lines. Not only did she possess a clear understanding of the phrasing of classical repertoire, but with each set of songs from different centuries or different cultures, she was careful to reveal the subtleties of each composer’s uniqueness. Her intelligent musical delivery was consistent throughout the program.

Songs by Debussy ended the program, and this was some of the best singing of the evening, for her voice turned out to be well suited to the colorful long French phrases. Trois Chansons de Bilitis easily captured the sheer beauty of her voice as well as her instinctive musicianship, while Mr. Brandwein’s collaboration enhanced Ms. Guthrie’s expressive performance. Clearly the audience could sense that we will be hearing more from this wonderful soprano. The Carmel Music Society has once again given us an outstanding evening of music.

Robin McKee Williams has directed musical theater at the Forest Theater, Carmel Ballet Academy has been the youth musical director at Western Stage. She presently teaches voice privately in Pacific Grove, Santa Catalina, Stevenson School and Hartnell College. She is credentialed from the McClosky Institute of Boston as a voice specialist.

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On Monday, December 21, the virtuoso choral group Chanticleer sang their “Chanticleer Christmas” concert at the Carmel Mission. The concert opened with singers entering in a procession down the aisle singing the plainsong Hodie Christus Natus Est. From the first note it was evident that this concert promised to be an outstanding evening of singing, musicianship and entertainment. The concert spanned nearly eight centuries of music, from Josquin Desprez and Giovanni Maria Nanio to Mendelssohn, Arvo Pärt, and Hugo Distler, to spirituals arranged by Joseph Jennings. The New Yorker has called Chanticleer,  “the world’s reigning male chorus” and Musical America has named Chanticleer as “2008 Ensemble of the Year.” This Grammy award-winning ensemble is now in its 32^nd season.

The opening candlelit procession was spectacular. Every detail of the process— candle holding, stage presence, synchronized phrasing, and beautiful singing — was lovely to hear and to watch. The soprano voices clearly understood the nuances of plainsong and the bass section delightfully shaped the sustained pedal tones. Josquin Desprez was sung flawlessly with superb diction and artistry.

Hodie Nobis Caelorum by Giovanni Maria Nanino (c.1543-1607) was sung antiphonally. The choir members communicated their changes of duple, triple and compound meters with slight synchronization of body movements. A slight upward head movement from one of the singers would seem to exactly start and stop each contrasting phrase. Every singer understood the placement of notes within the chord giving the right emphasis for suspensions, dissonances and consonances.

Santa Maria Yn Ilhuicac Dios Italaçonantzine by Don Hernando Franco (1532-1585) was accompanied by intricate and highly percussive rhythms on the tambourine, which dramatically framed the long arching melodic lines. These same long melodic lines were heard in Est ist ein Ros Entsprungen by Hugo Distler (1908-1942). Moving abruptly five centuries ahead, old forms and genres were sung with great understanding of word painting and long melodic 20^th century ideas. The choir’s musicianship was especially impressive as the singers went from four to eight parts.

Arvo Pärt’s (b.1935) Sieben Magnificat-Antiphon demonstrated great contrasts of style.  There were opportunities for operatic singing followed by a smooth blended choral technique. The soloists’ various timbres were used for contrast and expressiveness, and the use of abrupt harmonic modulations kept the listener always alert. One of the sopranos went ever so slightly sharp in a complex chord and very quickly the entire choir tuned to the sharpening of pitch.

Toward the end of the program the ensemble sang the traditional Angels We Have Heard on High arranged by Edward Shippen Barnes. This very familiar carol was sung with fresh beauty and considerable clarity. A change of language was a linguistic surprise when the flow of long pure Hispanic vowels of Spanish Carol began. As the choir members proceeded down the aisle of the mission, their perfectly precise movements had both meaning and intensity. There was also experimentation with the use of extreme vocal dynamics — full fortissimos (although the Chanticleer singers were careful never to force their voices) quickly followed by sudden pianissimos.

A final medley of Christmas Spirituals ended the program with a feeling of lightness and joy. Throughout the evening, the concert showcased the extraordinary talents of the individual singers, whose combined voices in perfect ensemble made an awesome impression. This was truly a wonderful evening of music.

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Robin McKee Williams has directed musical theater at the Forest Theater, Carmel Ballet Academy has been the youth musical director at Western Stage. She presently teaches voice privately in Pacific Grove, Santa Catalina, Stevenson School and Hartnell College. She is credentialed from the McClosky Institute of Boston as a voice specialist.

The eclectic first half of the program included songs from Ireland, Nigeria and P.D.Q. Bach. The program opened with Linda Spevacek’s “Irish Carol” as the choir proceeded energetically down the aisle to the front of the church. This charming entrance set the character of the lively concert to come. Cantate Gloria by Alan Bullard was sung a cappella with liveliness and vitality. Betelehemu, a Nigerian Christmas Song, arranged by Josh Gitomer, was scored for percussive instruments as well as polyrhythmic clapping and hand movements from the chorus. Several soloists from the chorus were featured, including Leslie Mulford’s  beautiful solo in “The Peace Carol” by Ron Harris, and Velvet Piini’s  lovely technique and style in Amy Grant’s “Breath of Heaven.” The humorous “Christmas Pipes” by Brendan Graham included kazoos played by the chorus interspersed with singing.

The highlight of the evening’s program was “Carols of the Heart” by Peter O. Williams, a Pacific Grove composer. This choral work consisting of three songs was sung by the Women’s Ensemble. “There is a Rose,” “Lord Jesus Once Was A Child” and Balulalow were elegantly composed with close dissonant and melodic harmonies. The appealing simplicity of his haunting melodies was truly beautiful. These choral pieces published in 2007 will undoubtedly place Mr. Williams in the forefront of American composers. Peter Williams received his music degree in Music Theory form Richland College in Texas and his BA in Contemporary Music form the College of Santa Fe.

Only three traditional carols were included: “O Come, O Come, Emmanuel,” “Bring a Torch, Jeanette, Isabella” and “Still on This Silent Night.” These were arranged with great clarity and harmonic interest, although, by contrast, the rhythmic ideas were calm and even. “Jingle Bells” arranged by Kirby Shaw leaned towards smooth jazz and a samba beat. This entertaining arrangement moved easily into the final selection of Handel’s “Messiah” entitled  “Hallelujah from Handel’s Messiah: A Soulful Celebration,” arranged by Michael Jackson, Mervyn Warren and Mark Kibble. This delightful concert was well received by the audience.

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Robin McKee Williams, MA, CMVT, is an active musical director and mezzo-soprano soloist for the Monterey Peninsula and San Francisco areas. Her training includes the Royal Conservatory of Music, Stanford University, San Jose State University and the McClosky Institute of Boston. She is presently pursuing a DMA degree from Boston University.

I Cantori di Carmel, under the direction of Dr. Sal Ferrantelli, presented an evening concert of choral music with orchestra and soloists at the Carmel Mission Basilica on Sunday, December 6^th. The program began with a 16^th century French Carol, which established the joy of the holiday season, and ended with Mozart’s delightful Missa Brevis in F Major. The marvelous ambiance and acoustics of the Carmel Mission enhanced the program, which ran the gamut from 16^th century composer Heinrich Schutz to one of Ferrantelli’s recent compositions, and the program moved easily from one century to the next. The fine singers of I Cantori demonstrated many times during the evening their mastery of phrasing, language, diction and melodic line. The contrasting centuries with their unique developments of harmony, phrasing, and text added variety and interest throughout the program. Ferrantelli’s direction maintained a high level of intensity throughout the program.

For many decades, Ferrantelli has devoted his time to raising the standards of music on the Monterey Peninsula. Sunday evening was no exception. Several of his soloists were from the Monterey Peninsula. Katherine Edison, a choral member of I Cantori, was given a lovely solo in Cantata Pastorale per la Nativita di Nostro Signore Gesu Cristo by Scarlatti. The solo quartet in Missa Brevis in F Major by Mozart was also sung beautifully by guest soloists. Just how elegantly Mozart could write melodies for sopranos was proved by Nancy Williams, also a resident of the Monterey Peninsula, who demonstrated how to bring Mozart to life. Members of Ensemble Monterey played brilliantly, and included in this ensemble were talented high school students Jacob Paoletti, Grace Lee and David Oh from Rose Marie Dunsford’s violin studio in Pacific Grove.

Of particular interest was Ferrantelli’s Kyrie eleison. Although it was harmonically and musically challenging, the chorus easily performed the difficult key changes and abrupt modulations. This ambitious a capella piece remained nicely in tune as new keys were introduced and intricate rhythms emerged. The fine soprano section was able to sustain high notes that were free of vocal tension and had clear resonance throughout the melodic lines. This performance served to prove how well Ferrantelli knows how to showcase the strengths of his musicians.

It is inspiring to hear volunteer choral singers who meticulously prepare choral music spanning several centuries in four different languages, and this concert demonstrated how I Cantori’s singers have worked hard to develop their vocal technique and musicianship. Many hours go into preparing music for one of I Cantori’s concerts and its singers understand the subtleties of Mozart’s phrasing and cadences, the contour of Schutz’s melodic ideas, and the harmonic beauty of twentieth-century choral music. I Cantori di Carmel, with the inspiration of Ferrantelli’s direction, presents these choral concerts to the public, and it is truly a gift to hear them perform.

Robin McKee Williams, MA, CMVT, is an active musical director and mezzo-soprano soloist for the Monterey Peninsula and San Francisco areas. Her training includes the Royal Conservatory of Music, Stanford University, San Jose State University and the McClosky Institute of Boston. She is presently pursuing a DMA degree from Boston University.

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The second set of songs began to challenge the traditional concepts of melody and harmony. Chabrier, Paladilhe, Debussy, Chausson, Bachelet and Duparc clearly experimented with the traditional concepts of melodic and dramatic line. Rhythm and text were also challenged by these composers and Ms. Graham used her innate artistry to express each composer’s concept of music of the twentieth century. Many of these songs had a tonal ambiguity which allowed Ms. Graham to find original dramatic and musical meaning. The composers of the third, fourth and fifth sections all expanded on the exploration of melody, harmony, text and rhythm. Fauré’s melodic Vocalise without words was in sharp contrast to Debussy’s use of whole tone scales and a text of sadness and reflection in his song Colloque Sentimental. Satie’s short song entitled, “The Hatter” was in contrast to Poulenc’s lengthy dramatic song La Dame de Monte-Carlo. Again, Ms. Graham responded to each composer, each melodic structure, and each rhythmic opportunity with sincere meaning and feeling.

I spoke with Mr. Martineau after the concert, and he confirmed my hunch that the music was selected to show the individuality of each French composer. It also seemed that Mr. Martineau selected these songs to showcase the marvelous musical and dramatic talents of Ms. Graham. I also spoke with Ms. Graham after her concert and I was impressed by her genuine manner and how graciously she accepted the audience’s compliments. It was easy to be inspired, moved and in awe of her abilities.

Kudos to the Carmel Music Society for presenting such a lovely concert. In addition, I would like to give special recognition to Mrs. Horace Wilson, who sponsored this event. Lastly, thank you to Ms. Susan Graham and Malcolm Martineau for coming to Carmel.

Robin McKee Williams, MA, CMVT, is an active musical director and mezzo-soprano soloist in the Monterey Peninsula and San Francisco areas. Her training includes the Royal Conservatory of Music, Stanford University, San Jose State University and the McClosky Institute of Boston. She is presently pursuing a DMA degree from Boston University.

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