Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
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...
RECITAL REVIEW
Concerts Grand / Sunday, April 18, 2010
Sandro Russo, Pianist

Sandro Russo after playing

RUSSO SCORCHES NEWMAN AUDITORIUM IN SEASON FINALE RECITAL

by Terry McNeill
Sunday, April 18, 2010

Spring thunder from sunny Italy was the order of the day April 18 when Sicilian pianist Sandro Russo closed the seventh Concerts Grand season with a dramatic recital at Santa Rosa Junior College.

In an 80-minute program before a Newman Auditorium audience of 120 Mr. Russo disdained the usual opening works of Scarlatti and Mozart and launched into a powerful rendering of Liszt’s magnificent “Variations on Weinen, Klagen, Sorgen, Sagen,” based on a Bach Cantata first heard in April, 1714. The title can be translated as “Weeping, Lamenting, Worry and Apprehension” and Mr. Russo’s imposing interpretation brought out the works majesty as well as its infinite sorrow. His running left-hand octave playing was masterly and the often judicious tempos let air into the work. There was reconciliation in the chorale where grief is overcome.

If the Liszt might could be about conquering adversity, Beethoven’s F Minor Sonata (“Appassionata”) is surely about it. With memorable past Newman performances by Joseph Banowetz and the mercurial Valentina Lisitsa, Mr. Russo had a mountain to climb in a sonata the composer was said to have liked above all others. The difficult articulation problems in the opening Allegro assai were handled with ease and Mr. Russo had the requisite speed and large tone in the second subject. The short set of variations comprising the second movement were lovingly set out, the artist in no hurry to get anywhere.

Recently pianists (e. g., Schiff, Fellner, Biss) have been playing the Sonata and especially the concluding Allegro ma non troppo is an “architectural” style, emphasizing structure and inner thematic relationships over passion. Mr. Russo would have none of this, seizing the emotional drive and sweep of the movement and bringing the audience to its feet with the final fortissimo chords. The piano would have been hot to the touch as he left the stage amid cheers.

Following intermission Lowell Liebermann’s haunting Nocturne No. 8 (2004) was given, and Mr. Russo knows these pieces (there are now 11 Nocturnes) through careful study and his own premiere of the Nocturne No. 10. The eighth is haunting, the menacing quality set against short lyrical passages. Mr. Russo’s interpretation has changed since I heard him play it in 2004, now less explosive in the big crashes of sound in measures 123 and 124, emphasizing more the mysterious nature of the writing. Is anyone writing nocturne-like works with such sonic interest as Mr. Liebermann?

The formal program concluded with Schumann’s eight-movement Kreisleriana, Op. 16. It is a difficult work to hold together, with many da capo forms of various moods. Mr. Russo approached each with care, especially in the Sehr langsam where his tonal control was exquisite. The entire performance exhibited a controlled rotation and double-note legato technique, glowing cantilena in the Sehr aufgeregt with the final conception lacking perhaps only the last portion of introspection.

The ending of the Schumann caused some confusion in the hall as the program, printed eight months ago, showed it as the last work. People were preparing to leave but fortunately Mr. Russo was in a generous mood and capped the recital and season in a driving and ultimately sensational performance of Balakirev’s Oriental Fantasy “Islamey.” Considered one of the most difficult works in the standard piano repertoire, Mr. Russo’s whirlwind of repeated notes, large right-hand skips and a dollop on bombast were equal to the score’s demands. Those in the first row were a little scorched by what one listener called a “Vesuvius” of sound, but that’s what you get with a great “Islamey” performance. There was no encore offered or needed.

Sandro Russo’s recital was on balance the most virtuosic playing heard in Santa Rosa since the Bronfman, Ohlsson and Nakamatsu concerts of three years ago and was a forceful capstone to the nine-recital Concerts Grand season.

The reviewer is the producer of the Concerts Grand series.