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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
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...
RECITAL REVIEW

Pianist Daria Rabotkina

PIANIST RABOTKINA DEFTLY PLAYS RUSSIANS IN OAKMONT RECITAL

by Terry McNeill
Thursday, October 21, 2010

Oakmont’s 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 21’s 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 Prokofiev’s 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 pianist’s 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.

Schumann’s 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 Träumerei and Kind im Einschlummern parts almost soporific in their languorous tempos.

The big work on the program was Rachmaninoff’s 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. Rabotkina’s approach, perhaps in conjunction with the instrument’s sound and the hall’s 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 didn’t 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 Chopin’s Opus Posthumous Waltz in E Minor.