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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...
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.