Tag Archives: Bremerton Symphony

Bremerton Symphony Auditions New Players

This from our friends at the Bremerton Symphony Association:

The Bremerton Symphony Orchestra will conduct auditions for all strings, including principal cello, all woodwinds, horn, and percussion in September.

WHEN: Saturday, Sept. 12 starting at 10 a.m.
WHERE: Olympic College music room, 1600 Chester Ave., Bremerton

To schedule an audition and obtain the audition repertoire, please call the Symphony office at (360) 373-1722.

Information: bremertonsymphony.org.

More later …  — MM

Bremerton Church Announces ‘Summer at Summit’ Concert

A “Summer at Summit” concert at will be performed at 4 p.m. Aug. 23 at Summit Avenue Presbyterian Church, 403 S Summit Ave. in Bremerton.

According to spokesperson Gary Dahl, “We are hoping to present similar events each summer in the future, if this one is a success.”

The Aug. 23 program features orchestra and pipe organ performing Mozart‘s Symphony No. 29 in A, Boyce‘s Symphony No. 4 in F, Handel‘s Organ Concerto No. 13 in F (“Cuckoo and the Nightingale”), and Poulenc‘s Concerto for Organ, Strings and Timpani
Len Guyt will be the organist for the Handel, with Woody Bernas taking over for the Poulenc.

“We have received a sponsorship from the American Guild of Organists in
support of this program,” Dahl wrote in an e-mail. “These organ concertos are seldom performed, so this is an especially unique concert.”

Information: (360) 377-2740.

More later … — MM

‘Roman Holiday’ Finds Bremerton Symphony in Fine Form

Here’s the review posted at kitsapsun.com/entertainment from the March 21 performance by the Bremerton Symphony:

I’ve not been in the habit of reviewing concerts or other events of a “one-off” nature — something that happens only once, and doesn’t afford another opportunity to be taken in, no matter how strongly I might endorse it.
However, the March 21 “Solostimmen” program was my first chance to see the Bremerton Symphony perform since the removal of music director Elizabeth Stoyanovich in January. So it bears a little rehash.
I passed on the Symphony’s February program — not because I didn’t want to go, but because I was floored by a case of the Crud (that actually should be spelled with a capital CRUD), and I didn’t think anyone would appreciate me showing up in that condition, even if I had been able to navigate my fevered self there.
It won’t come as a surprise to anyone who’s followed the Symphony with any interest, but it’s still a great joy and a great relief to be able to relate:
The Symphony continues to be the usual great night out at the Bremerton Performing Arts Center.
In the case of the evening in question, that’s due in large part to the appearance by cello wunderkind Joshua Roman, whose performance of Tchaikovsky’s “Variations on a Rococo Theme” sounded rich and passionate, even though it looked effortless. It’ll be one of the highlights of my year to be able to say that I saw him play at all, let alone here, with our hometown heroes. If he’s not a one-of-a-kind talent, he’s as close as many of us are liable to see in our lifetimes, at least within a mighty stone’s throw of our own front porches.
But Roman’s presence was just part of the fun. The solid backing he received from guest conductor Alan Futterman and a cast of our local volunteers crowding the stage added tremendously. And when the Symphony returned apres intermission and sans Roman for a rock-solid run through Shostakovich’s wickedly, mischieviously difficult Ninth Symphony, eyebrows raised and smiles widened even farther.
I have to admit I was a little worried after the opening piece on the program, the second of J.S. Bach’s Brandenburg concerti, which is scored for and was performed by a chamber-sized, Baroque-style unit, fronted by a quartet of soloists — Concertmaster Blanche Wynne, principal flute Anna Schroeder, principal oboe Amy Duerr-Day and principal trumpet Dean Wagner.
While the solo parts were performed anywhere from bravely to brilliantly (particular kudos to Mses. Schroeder and Duerr-Day), I thought the support sounded a bit thin, particularly in the strings. By no means unlistenable, just a bit thin.
Reinforcements arrived — lots of them, the onstage numbers nearly doubling — for the Tchaikovsky and Shostakovich, which both were pretty nearly redoubtable. Both afforded plenty more opportunities for Symphony members to show their talents, solo-style, with William Ferman’s clarinet, John Sullivan’s piccolo and Brian Rolette’s bassoon all leaving particularly favorable impressions.
Futterman presided effectively and affably, even taking up the microphone a couple times to revisit portions of his pre-concert chat prior to the Shostakovich. Even with his catechism, its abrupt climax caught many concert-goers by surprise, possibly because its five movements run together into what seems more like three.
Futterman also took time to explain the brief — and, to me at least — unnecessary encore, the finale of Tchaikovsky’s “Swan Lake.” I do appreciate the added effort to give the audience a little something extra, but the performance came off rather like the bottom of the ninth inning of a great baseball game. Sure, it’s a great three outs, but most of what made it a great game — and gave that big finish a context — came in the preceding eight and a half innings.
But here I am, bitching about a bonus. That’s just wrong.
Still, what I’ll remember from the March 21 program, aside from the work of the almost insanely gifted Roman, is the Symphony’s performances of the Tchaikovsky Rococo Variations, and the Shostakovich, which showed thorough preparation and wonderful musicianship throughout.
Roman was a splendid visitor for us to be able to welcome, and the Symphony proved themselves completely worthy of his visit.

More later … — MM

Kitsap Opera’s ‘Figaro’ Star Back in Action

A note from Seattle Opera about Jonathan Silvia , who was so wonderful in the title role of Kitsap Opera / Bremerton Symphony ‘s November production of "The Marriage of Figaro :"

"Bass-baritone Jonathan Silvia, a resident of Kent, will sing the role of Quince in Seattle Opera’s Young Artists presentation of Britten’s "Midsummer Night’s Dream." The performances are at the Theatre at Meydenbauer Center in Bellevue, on March 27, 28, 29, and April 3, 4, and 5, 2009. Silvia will sing at all six performances.

Silvia is one of nine guest artists joining the 10 members of the Young Artists Program for A Midsummer Night’s Dream. Recent performances for Silvia include Mozart’s "Marriage of Figaro" with Kitsap Opera … He is also a regular member of Seattle Opera’s chorus.

More later … — MM

Symphony Sub: Sibelius in for Barber

The Bremerton Symphony ‘s performance Feb. 7 will feature violinist Rachel Wong , winner of the Seattle Symphony Young Artist Invitational, playing the concerto of Jean Sibelius.

That soloist and selection are two of the changes to the original program, titled "Perpetual Motion" (as opposed to the original "Perpetual Motion vs. Pathetique"). Intact will be the "Zais" Overture by Rameau. There also will be a Tchaikovsky symphony on the 7:30 p.m. program at the Bremerton Performing Arts Center (1500 13th St.), but it will be the No. 5, in place of the originally scheduled No. 6.

The Sibelius concerto replaces the violin concerto of Samuel Barber. That piece was scrapped when the soloist, Seattle’s Ron Patterson , withdrew.

Wong is no stranger to the Sibelius — it’s the same piece she played en route to the Seattle Symphony Young Artist Invitational’s top prize in 2007.

Alan Futterman , known around Kitsap in part for serving as musical director for Peninsula Ballet Theatre’s annual "Nutcracker" production, will conduct the program.

More information is available by calling the Symphony office at (360) 373-1722, or bremertonsymphony.org.

More later … — MM