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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...
SYMPHONY REVIEW
Napa Valley Symphony / Sunday, January 31, 2010
Asher Raboy, conductor
Valentina Lisitsa, pianist

Napa Valley Symphony Conductor Asher Raboy

VIRTUOSIC EXCITEMENT AT NAPA VALLEY SYMPHONY CONCERT

by Terry McNeill
Sunday, January 31, 2010

Conductor Asher Raboy, in his final season with the Napa Valley Symphony, has established in a 20-year tenure a responsive orchestral sound and an interest in large and crowd-pleasing works. During a Jan. 31 concert in Yountville’s Lincoln Theater, Mr. Raboy had the opportunity to shine in two massive Russian pieces from two disparate composers.

Ukrainian-American pianist Valentina Lisitsa was the soloist in Tchaikovsky’s B-Flat Piano Concerto, Op. 23, and in the opening Allegro non troppo melded her artistry to a cordial accompaniment from Mr. Raboy and his players. The thunderous opening chords from the soloist were solid without banging, leading to an energetically-played first theme. But some problems popped up, not with wrong notes (though Ms. Lisitsa grabbed a few at the end of treble-register runs) but with balance and tempi. The instrument was initially too loud for the orchestra, and Ms. Lisitsa’s tempos tended to push ahead, clearly something different than Mr. Raboy had in mind. The cello and bass sound, perhaps due to the unorthodox seating the conductor preferred, seemed muted and the orchestra more muddy than distinct. The trumpets (Scott Macomber, Mark Nemoyten and Christy Dana) were excellent. The “question and answer” phrasing by Ms. Lisitsa in the cadenza was magical, holding the audience breathless.

Things jelled in the lovely Andante semplice, Diane Maltester’s clarinet solos sensitive and carrying to the back row of the 1,200-seat hall. Ms. Lisitsa’s trills were unvaryingly fast and even and her scales in the finale crystalline. The famous double octave passage in the concluding movement found the soloist plunging in with abandon, eschewing a slow beginning but achieving both speed and sonic clarity. The octaves had much of the Horowitz power and none of the Argerich confusion.

Not surprisingly the soloist had a tumultuous response from the audience of 850 with three curtain calls, and she responded with a wildly virtuosic Liszt Second Hungarian Rhapsody, the alternating tonic and dominant harmonies brought out with controlled flair. The right-hand skips were dead on, unfamiliar inner voices deftly displayed, and the last chord arpeggiated. It was a reading worthy of Gyorgi Cziffra, and praise can go no higher.

Following an extended intermission where Ms. Lisitsa met her adoring public in the lobby, the orchestra returned to the somber and thrilling Fifth Symphony of Shostakovich, Op. 47. Before the concert I overheard conversations questioning the ensembles’ ability to mount a cogent performance of the long and difficult work. But such fears were unwarranted, and Mr. Raboy led a performance long on architectural stability and pathos. As in the Tchaikovsky, he never seemed to be in any hurry, prefacing the performance with a pithy verbal description of the work’s origin in 1937. Presciently, he said to the audience that all the tragic political and social underpinnings of the Shostakovich Fifth were really just a footnote, and the real importance was the cosmos of human emotion inherent in the composition. Different than the neglected Fourth Symphony (Op. 36, 1934), the D Minor Fifth is a triumph over adversity. The unison strings set the tone in the first movement in what is essentially a grotesque march, similar to the often banal Shostakovich themes. But he is a great master, for me the finest 20th Century composer, and banal themes in his hands become evocative and potent. The oboe (Barbara Midney) and bassoon (David Granger) solos were exemplary and the fetching second theme in the violins was played serenely. The ending with celesta and unidentified harpist was soulful, no less so as the conductor took only the slightest ritard.

The Allegretto seemed untroubled and carefully paced, with fine violin playing by Concertmaster Yasushi Ogura and solo flutist Rebecca Pollock-Ayres. The highlight of the somber and spiritual Largo were the duets for harp and flute, with oboe and horn solos reminiscent of the Prelude to Act Three of Wagner’s “Tristan.” In this movement Shostakovich splits the cellos in different combinations with the bass, producing subtle counterpoint. The timpanist’s gong was overloud, covering the concluding tremolos in the strings. This slow movement was played with delicate beauty, Mr. Raboy wringing meaning from every note.

The concert concluded with the eruption of the final Allegro, encompassing much of the climax of the first movement in manner if not actual material. The shifts from D Minor to finally D Major were courageously and almost obsessively played, and the final fortissimo bass drum strokes from percussionist Susan Jette brought the audience to its feet, and a smile to Mr. Raboy. He clearly knew what his orchestra had brought to the hall, with nothing left on the table.

Contributing to this review was Daniel Greenhouse. The reviewer is producing a forthcoming concert for Ms. Lisitsa.