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Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festivalís 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 Rosaís Spring Lake Village Chamber Music Series. Before 140 in the Villageís auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
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 Rosaís 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 Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís 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 SaŽns, 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 Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís 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...
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.