The Opera Tattler

* Notes * 
Philharmonia Baroque Orchestra's latest program features Vivaldi's The Four Seasons, and the first of five performances under Nicholas McGegan occurred last night at Herbst Theatre in San Francisco. The first piece, Corelli's Concerto grosso Op. 6, No. 11 in B-flat major, was played jauntily but seemed a bit flustered. The Pergolesi that came next, Sinfonia in F Major, went more smoothly. The music shifted from elegant to cheerful with grace. Concertmaster Carla Moore sounded particularly determined.

Oddly, the Vivaldi concerti were divided by the intermission. On the whole the sound was bracing, yet jolly. The ensemble bolstered the violin soloist, Elizabeth Blumenstock, who played with great vigor. The violist seemed out of tune for the beginning of the Largo in La Primavera, and Blumenstock herself appeared to struggle with intonation in L'autunno's first Allegro. The beginning of L'inverno was played sul ponticello, and producing a humorous squeakiness, and providing a striking contrast with what followed. Zavateri's Concerto in D Major was verdant, and Durante's Concerto No. 5 in A Major quite vivid.

* Tattling * 
Our group of friends was made tardy by a certain latecomer to dinner beforehand. We did just make it in just as McGegan came on stage, who may have noted our appearance as we did have to ask someone to move from our seats. The person next to me in K 112 tapped her foot with the music, and I also heard someone's watch ticking distinctly during the Vivaldi in the first half. Neither of these was a problem in the second half as the people in question disappeared. There was some talking, especially from the man who moved from K 114 to J 112. My companion noted that a person wearing a salmon-colored shirt across the aisle fell asleep.