Home  Reviews  Articles  Calendar  Presenters  Add Event     
Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
CHAMBER REVIEW
Oakmont Concert Series / Thursday, May 08, 2008
RAFAL BLECHACZ, CONCERT PIANIST

Rafael Blechacz

CHOPIN WINNER WOWS THEM IN OAKMONT

by Terry McNeill
Thursday, May 08, 2008

The young Polish pianist Rafael Blechacz arrived May 8 at the Oakmont Concerts Series with quite a bit of musical baggage, including winning the 2005 Chopin Competition (the same competition that launched Garrick Ohlsson's career in 1974) and playing on several ubiquitous You Tube snippets. He was touring the Bay Area, and his debut here was eagerly anticipated by a large crowd, including many pianists, in Berger Auditorium.

Blechacz didn't disappoint with his initial offering, Mozart's D-Major Sonata, K. 311. His command of fluid scale passages served the work well, as did his ability to put a little 'air' between the notes, establishing clarity as well as speed. He chose fast tempi and minimal pedal for both the opening allegro con spirito and the concluding rondeau. His hands were admirably balanced, and his dynamic control was exceptional. Clearly he has had excellent teachers. Unfortunately, several notes in the upper tenor and treble of the house piano went quickly out of tune, and continued so throughout the recital.

Debussy's Estampes followed, and was delivered effectively, if at times a little blandly. The three works in this collection are coloristic journeys into rich impressionism, and Blechacz presented them without showing any natural affinity for the Frenchman's often diaphanous and subtle music. Nonetheless, they were played with sonorous attention to detail, and received loud applause.

The first half ended with Szymanowski's early B-Flat Minor Variations, Op. 3, which received a passionate reading. Written just after 1900, this work has a noble theme and 12 disparate variations. Blechacz played them with ardor and masterly comprehension.

Chopin's 24 Preludes, Op. 28, comprised the second half of the concert. Blechacz's pianism here was of considerable authority but finally a little underwhelming. This trait seems odd for a competition winner, as the norm is for barnstorming, virtuosic playing to impress jurors and audiences alike. But Blechacz offered a more restrained approach to this intricate work, never getting a resounding fortissimo from the piano, often cutting off fermatas, never prolonging pedal points, and even underplaying the fleeting 16th and 22nd preludes. It's certainly a valid approach to this magnificent music, but a more heroic and large-scale interpretation seems preferable. Blechacz is young, however, and the Preludes should hold infinite possibilities for his future interest. Profound music demands a lifetime of artistic thought.

Responding to loud acclaim, he offered one encore, a scintillating Chopin waltz. Here in six minutes all the best of Mr. Blechacz's art was present: sovereign control, a chaste tone, perfectly etched scales and sculpted phrases of great beauty.