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Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
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.