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Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
RECITAL REVIEW
Concerts Grand / Sunday, February 21, 2010
Valentina Lisitsa, Pianist

Valentina Lisitsa Playing Chopin's Butterfly Étude Feb. 21 (R. Crockett Photo)

LISITSA TRIUMPHS WITH BIG PROGRAM IN NEWMAN HALL RECITAL

by Terry McNeill
Sunday, February 21, 2010

Ukrainian-American virtuoso Valentina Lisitsa came to her Feb. 21 Santa Rosa recital carrying the fame of a massive YouTube video presence and as among the handful of the most popular woman pianists on the international scene. Whether she is among the best remained to be seen and heard.

Performing for the Concerts Grand series in SRJC’s Newman Auditorium, Ms. Lisitsa took on a program of staggering breadth – Schumann’s “Kinderscenen,” the Appassionata Sonata of Beethoven and the entire corpus of the Chopin Études, Op. 10 and 25. The last, along with the pianist’s undeniable glamour, attracted what was estimated to be the largest crowd ever in Newman, with many standing in the side aisles for the entire performance. Pianists and music students were liberally sprinkled throughout the audience, not really knowing how the tall artist could manage the pyrotechnics of the 24 studies after a demanding first half. They were soon to find out.

Schumann’s 13-part “Scenes from Childhood” received a poised and mildly understated reading, the singing lines perhaps most perfectly realized in the last segment, “The Poet Speaks.” Here the pianist suspended all sense of time and had the audience enthralled. For the F Minor Sonata, Op. 57, recent performances across the country seem to be emphasizing the architecture and inner connections of the movements, holding down the passion. Can one have an “Appassionata” without the passion? Ms. Lisitsa didn’t think so and played an exciting opening Allegro assai, shaking off some initial blurred passages to spotlight the sforzandos and solving with ease the difficult articulation problems in the second part of the second subject.

Ms. Lisitsa has a fluid and relaxed physical approach to the instrument, with both long arms and fingers, and in the second movement her graceful playing was a bit fast for the lyrical variations, lacking repose. The famous concluding Allegro was played ma non troppo, the thunderous 13 opening chords heralding a dramatic but controlled journey of sweeping emotion.

Turning after intermission to the daunting task of Chopin’s “exercises,” the pianist selected tempos that were almost always on the fast side. Most of the works were played “attacca,” meaning no break between each, often beginning one Étude without releasing the last note of the previous one. There is some historical support for this practice, in the original manuscripts. But no matter, as they are indeed studies brilliantly addressing a myriad of technical tasks. The highlights for this reviewer were two from the first Book, a ravishing No. 11 (Harp) and an exceptionally fast No. 12 (Revolutionary). In the second Book, the famous “Aeolian Harp” in A-Flat could have benefited by more restraint to create musical tension, as in the middle part of the Op. 25, No. 5. The “Butterfly” of Op. 25, No. 9, was played with just the right loose wrist staccato touch. Some in the hall may have felt overwhelmed hearing so much technical dexterity, but the auditing pianists were surely hanging on every familiar Étude and phrase. Overall, Ms. Lisitsa clearly preferred to play according to her concepts with no concession to digital requirements, and whether the “take no prisoners” approach works is a matter of taste. She is never, ever boring.

The expected tumult from the audience brought three generous encores, the first an unfamiliar Rachmaninoff Moment Musicaux from the 1896 set of six, Op. 16. The G Minor Prelude from the same composer’s Op. 23 was played as fast as I have ever heard it, the chords in measure 23 hammered to powerful effect while still maintaining clarity. The meno mosso middle section, described by a colleague of the composer as a reflection of his noble soul, was precipitously speedy.

Liszt’s second Hungarian Rhapsody closed the long program and of course blew the roof off. The pianist added two novel bars in mid piece and played passages where the Hungarian Liszt introduced ersatz cimbalom and finger cimbal effects with demonic abandon. Skips and repeated notes were not impeccable but distinctly resplendent. The ovation bordered on pandemonium, all of which Ms. Lisitsa accepted with unassuming grace.

Whetting the appetite of the pianist’s admirers, Santa Rosa Symphony Executive Director Alan Silow announced from his seat in the audience that Ms. Lisitsa will return in November to play Liszt’s E-Flat Concerto and Totentanz. Full houses at the Wells Center are at this early date anticipated.

The reviewer is also the producer of the Concerts Grand series.