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Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
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.