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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
RECITAL REVIEW
Mendocino Music Festival / Sunday, July 11, 2010
Paul Roberts, piano

Pianist Paul Roberts in Preston Hall July 11

ROBERTS PLAYS UNEVEN RECITAL AT MENDOCINO FESTIVAL

by Terry McNeill
Sunday, July 11, 2010

British pianist Paul Roberts played a recital in two disparate parts July 11 in Mendocino Music Festival’s piano series in Preston Hall.

Before 65 people Mr. Roberts planned the initial part around music of Ravel and Liszt, each with extensive descriptive titles. The pieces were preceded by a lengthy verbal introductions, set out in Mr. Roberts’ unique blend of historical description, philosophy, musical analysis and a sporadic dash of gossip. The pianist is a superb speaker, witty and at all times pithy and instructive. It’s refreshing to hear the English language fashioned so well. At times one wished for more piano playing and less education, but it’s a summer festival and the speaker knows the territory.

What the artist didn’t do well, at least until the intermission, is to play the piano at a high level. In Liszt’s “Au Lack Du Wallenstadt” the chosen tempo, as throughout the afternoon, was fine but the piano sound was muffled, the left hand indistinct under the simple melody. The same composer’s “Au bord d’une source” was heavily pedaled with a heavy touch and the line was broken by an extended pause. Aural memories came back to a Horowitz performance in Carnegie Hall of the same piece, awash with a shimmer of sound and delicate phrasing and half pedal. Shura Cherkassky’s rendition was also inimitable.

Ravel’s “Jeux d’eau” received a more idiomatic reading with fluid arpeggios and a “watery” cadenza. Two more Liszt works followed, the Sonetto del Petrarca No. 123 and the revised version of “Les Cloches de Genève.” Played from score, the former featured a modest tempo and even but slow trills, the melodic line imaginatively played and the final note lingering and almost inaudible. The faster parts of “Cloches” strained the pianist’s technique, the imperfect pedaling enhancing the overy loud statement of the second theme. These “bells” had neither the tenderness at the opening nor heroism in the octave passages.

Often in the first half playing above forte produced a harsh tone and a less-than-polished conception, but with Debussy everything changed. Here Mr. Roberts was in his element. He recently authored an acclaimed biography of the composer, but that’s no insurance that he can play in Debussy the layers of refined sound with unusual pedal effects at a virtuoso level. Worry not, as the Roberts conception of the French master’s music was an ideal combination of head and heart. Beginning with “L’isle joyeuse” and finishing with the iconic “Children’s Corner” Suite, all was in harmonious order. The piano tone became more richly hued, the digital command more secure. “Gradus ad Parnassum” built to a toccata conclusion, the accelerando at the end forceful but without harshness. The set unfolded in a masterly way, each of the six pieces fashioned with long study and a sure touch. I particularly liked the inner voices and accurate skips from “Jimbo’s Lullaby” and the repose and syncopated jazz harmonies of “Golliwog’s Cake-Walk.”

Two additional Debussy works were offered, the short and mysterious “Canope” and “Les collines d’Anacapri.” The latter is from the first book of Preludes (1910) and the folk like material was performed with a lively and bright palette. Debussy has a consummate interpreter in Paul Roberts.

No encore was offered.