Reviews

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.

Judging by the programming choices of many of our major musical institutions, choral music belongs strictly to the past. Fortunately, forward-thinking music lovers can always turn to Volti.

On paper, American mezzo-soprano Isabel Leonard reads like a filly breaking free from the pack. At 25, she has already debuted at the Metropolitan Opera in Roméo et Juliette, singing Stéphano alongside Anna Netrebko and Roberto Alagna. Other star turns include her recent Zerlina with Chicago Opera Theater, a forthcoming Cherubino in Santa Fe, and a gig at the Cincinnati May Festival.

Old First Concerts played host on Sunday to a varied and exhilarating program of chamber music by Stefano Scodanibbio, performed by sfSoundGroup and the composer himself.

One of the finer aspects of the San Francisco Symphony's current Brahms Festival is that in only three programs it manages to give a pretty complete view of what he stood for. The second of those three programs Thursday evening in Davies Symphony Hall featured one of his most lighthearted orchestral works, the Serenade No. 2 in A Major, Op. 16, the dramatically tragic Piano Concerto No.

When a concert is titled "Sound the Trumpet," and features music of Bach and Handel, listeners naturally expect to get their ears blasted off with the Second "Brandenburg" and the Royal Fireworks Music. But nary a kettledrum was in sight as the American Bach Soloists and natural-trumpeter John Thiessen showed the more lyrical side of the trumpet in Saturday's concert at the First Congrega

As if to mirror the state of bitterness attributed to some citizens of our country in these days, baritone Matthias Goerne and his excellent accompanist Alexander Schmalcz presented a vocal recital Saturday at Herbst Theatre that was a study in bitterness.

Maria Billingsley's Martinez Opera has done a great deal of community outreach and educational programming over the six years of its existence. That has given her company an identity and strong local support. Ultimately, though, an opera company is valued and judged by the quality of the work it puts on the stage.

The glamour and accolades that go along with being royalty are apparently difficult to enjoy when your throne is being directly challenged.

There are several pianists today who have built their repertoire around the music of a particular composer. I can think of a number of prominent artists specializing in Bach, Mozart, Beethoven, or Chopin. But I would hesitate to name a foremost “Rachmaninovist.” Pianists face daunting difficulties when they play Rachmaninov.