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Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now it seems to be on almost every...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Centerís Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflťís short and intense Requiem has been heard in Santa Rosaís Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hallís stage March 25 and didnít play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morganís artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hallís wonderful Brombaugh organ. Mr. Morgan, Stanford Universityís resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
RECITAL REVIEW

Pianist Daria Rabotkina

PIANIST RABOTKINA DEFTLY PLAYS RUSSIANS IN OAKMONT RECITAL

by Terry McNeill
Thursday, October 21, 2010

Oakmontís monthly Concert Series produces just a few solo piano recitals each year, and they usually feature out-of-the-ordinary repertoire and performers of international caliber. October 21ís recital presenting Daria Rabotkina was no exception to the established norm, the young Russian capably playing three big works to a Berger Auditorium of 175 with consummate ease.

The entire first half was devoted to Prokofievís Ten Pieces, Op. 75, taken from the ballet Romeo and Juliet. From 1937, the works are more effective separately than as a group, the melodies direct and uncomplicated. Ms. Rabotkina lavished a lot of time on each, never rushing even in the most popular of the set, Montagues and Capulets. Here the wonderful play of bass chords had a chilling effect, missing when the tempo is too fast. The pianistís rhythmic security was matched with the many march-like passages and sharp sforzandos. This was Prokofiev playing removed from the drama of the Sonatas, though in the quieter parts (Juliet as a Young Girl and Romeo and Juliet Before Parting) the playing was sensitive and colorful.

Schumannís popular Kinderscenen, Op. 15, followed intermission and was lovingly played without much individuality, substantially different than the Valentina Lisitsa performance February in Santa Rosa. This was chaste playing with considerable attention to detail, but mostly without inner voices or changes in texture as the 13 parts unfolded. Ms. Rabotkina has a firm control of pace and excellent chordal balancing, the Tršumerei and Kind im Einschlummern parts almost soporific in their languorous tempos.

The big work on the program was Rachmaninoffís B Flat Sonata, in the 1931 version, and it was given a curiously underplayed reading. Curious in the sense that this work, exceptionally popular in competitions for the past 20 years, is almost always a volcano of fortissimo chords, large dynamic contrasts and bring-down-the-house virtuosity. Mr. Rabotkinaís approach, perhaps in conjunction with the instrumentís sound and the hallís muddied acoustics, was never strident and looked for inner continuity rather than the last once of sonic power. For example, the big chord bass chord just prior to the cascade of notes in the third-movement coda didnít come with an aural crash, a unique touch for this reporter. This was not note perfect playing but a performance that had emotional intensity without being relentless.

The lovely Rachmaninoff Vocalise from the songs of Op. 34, and composed in 1912, concluded the program in a nostalgic mood, the rich harmonies and subtle pianistic rubato savored by the attentive crowd. The arranger for this solo piano version was unidentified.

One encore was given, a rollicking performance of Chopinís Opus Posthumous Waltz in E Minor.