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Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
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.