Steve Osborn

The orchestral might of the Santa Rosa Symphony, under Music Director Bruno Ferrandis, can now truly be heard in the Green Music Center’s splendid acoustics.

The Modigliani Quartet, visiting from Paris, and pianist Joyce Yang render a delightful recital on a sunny Sunday in the North Bay.

Revisiting his former home podium, a noted conductor and pianist connects wonderfully with colleagues in familiar and not-so-familiar music.

Massed forces in Santa Rosa undertake the mighty Brahms Requiem, seasoned with several spirituals.

The Santa Rosa Symphony performs David Carlson’s new song cycle, whose text was impassioned but mostly unintelligible.

A young conductor bears all the markings of a major career, evident in her outing with the Napa Valley Symphony and the Cypress Quartet.

Jon Nakamatsu outdoes himself in his splendid engagement of all-Russian works with the Santa Rosa Symphony.

How many performances of the “Jupiter” Symphony does it take to turn on a light bulb above the head of attentive listeners? In the case of the Santa Rosa Symphony, it only takes one.

The Santa Rosa Symphony consists of about six dozen talented musicians, but during its performance Saturday, piano soloist Valentina Lisitsa stole the show. This 30-something, blonde, steely-fingered Ukrainian-American has technical virtuosity to easily match any pianist of her generation, and her musicality is out of this world.

Patrons returning for the second half of Monday night’s Santa Rosa Symphony concert witnessed the unusual sight of five microphones: one to the left of the conductor’s podium, and four to the right. These peculiar forces and accoutrements had been assembled by Music Director Bruno Ferrandis for Kurt Weill’s Seven Deadly Sins.