Oboist Marc Schachman delivered a heart-tuggingly eloquent solo in the slow movement of the “Occasional Oratorio” overture, and individual movements of the “Water Music” stood out for their shapeliness and integrity.
There was room for expressive intimacy in the lineup as well. Bay Area legends Metallica respond to ‘Master of Puppets’ inclusion in Netflix’s ‘Stranger Things’.49ers' chances of trading Jimmy Garoppolo take big blow after Panthers trade for Browns' Baker Mayfield.Swimmer run over by boat in California's Tomales Bay in critical condition.Horoscope for Wednesday, 7/06/22 by Christopher Renstrom.'Doesn't feel normal for us': Muggy weather hits the SF Bay Area.Costco announces price hikes on 2 items at its beloved food court.San Francisco Airbnb rival WanderJaunt abruptly shuts down, vanishes with barely a trace.1 and again in the final minuets from the “Royal Fireworks Music,” you could hear an instrumental ensemble trained over many years to operate with sleek, joyful efficiency. In the jaunty dances of the “Water Music” Suite No. There is, first of all, the remarkable rhythmic vigor of his performance style, a quality of litheness and force that has become the fingerprint of this orchestra. Still, for longtime observers and supporters of Philharmonia, the evening was an opportunity to reflect yet again on the qualities that have made McGegan’s leadership so essential, and so exciting. She sang a pair of arias from “Ariodante,” including a note-perfect sprint through the peals of demanding coloratura in “Dopo notte,” and returned later on with a pair of excerpts from “Alcina.” Those were even more arresting, from the lilting but strong-boned “Mi lusinga il dolce affetto” to the fierce “Stà nell’Ircana pietrosa tana,” which concluded in a stunning call-and-response with the horn of R.J. Mezzo-soprano Susan Graham was the celebrity guest, giving characteristically agile and brilliant renditions of four of the composer’s operatic arias, and those episodes brought a dose of star power to the proceedings.
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