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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
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
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.