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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...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, November 06, 2010
Valentina Lisitsa, piano
Bruno Ferrandis, conductor

Pianist Valentina Lisitsa

TRANSCENDENT LISZT FROM LISITSA

by Steve Osborn
Saturday, November 06, 2010

The Santa Rosa Symphony consists of about six dozen talented musicians, but during their Nov. 6 performance at the Wells Fargo Center, piano soloist Valentina Lisitsa completely stole the show. This thirty-something, blond-haired, steely-fingered Ukrainian-American is beyond talented. Her technical virtuosity easily matches any pianist of her generation, and her musicality is out of this world.

The Symphony, under Music Director Bruno Ferrandis, set the stage for Lisitsa with a spirited rendition of George Enescu’s Romanian Rhapsody No. 1, the work for which this otherwise obscure Romanian composer is best known. The rhapsody is quintessential Gypsy music, starting slowly and accelerating to a furious pace.

The first clarinet and oboe opened the work with an assured duet, followed in short order by other woodwinds and the strings, who settled into a languorous waltz. Under Ferrandis’ skillful baton, the entire orchestra glided into a well-controlled accelerando, culminating in a sparkling flute duet. The constant rhythmic shifts proved no obstacle as the orchestra evoked the mystery, gaiety and reckless abandon of Gypsy dance music. The sustained applause prompted Ferrandis to return for a curtain call and recognize the soloists, a rarity for an opening work.

The musical center moved from Romania to Hungary as Lisitsa traipsed onstage to play Liszt’s First Piano Concerto. She seemed somewhat uncomfortable walking in her slinky, floor-length black gown. When she sat down to play, however, the attention shifted to her bare shoulders and sinewy arms. She displayed effortless poise during her dramatic first entrance, and she maintained that state of grace throughout the concerto.

Foremost among Lisitsa’s many talents is her understanding of the music she plays. Unlike his many showpieces, Liszt’s first piano concerto does have a coherent musical narrative, and Lisitsa told that story eloquently, dropping her voice to a whisper or raising it to a shout as occasion demanded. Each phrase had a definite shape, and her rhythmic drive propelled them forward into a spellbinding tale. She enhanced the sorcery by twirling her left arm in the air whenever her right was playing alone.

Everything about Lisitsa’s playing was fluid, from her arm gestures, to the occasional tosses of her long hair, to the way she hunched over the keyboard and then leaned back. It was hard to believe she could generate such power from such a slim frame, but the evidence was incontrovertible, even from my balcony seat on the far right side.

After the sustained standing ovation, I met a friend in the lobby who offered me an unused ticket for a downstairs seat near the center of the auditorium. This happy coincidence gave me a closer look at Lisitsa, who returned to the stage after intermission to play Liszt’s “Totentanz,” the famous Dance of Death.

Lisitsa’s playing of the concerto had been stellar, but her performance of “Totentanz” was intergalactic. She began with a ferocious attack that sent every muscle in her powerful forearms rippling. She soon followed with effortless glissandos from one end of the keyboard to the other, somehow sounding every note along the way. It was absolutely spellbinding. Under her hands, the piano became a different instrument, capable of an enormous range of expression, from evanescent pianissimos to thunderous volleys. There came a moment about half-way through the piece when it seemed that everyone in the auditorium was utterly captivated by Lisitsa’s playing. She invested the music with such quality that it went well beyond notes on a page and into the realm of transcendent experience.

Yet another boisterous ovation led a to a mid-performance encore, the Chopin E Flat Nocturne, Op. 9, No. 2. The contrast with the diabolic Liszt could not have been greater, the better to show off Lisitsa’s tremendous range. The frenzy of the “Totentanz” gave way to a few sublime moments of blessed quietude.

Lisitsa was an almost impossible act to follow, but the Symphony, which had faded into the background during the Liszt and Chopin, made a game effort with Bartok’s Concerto for Orchestra. Mr. Ferrandis set a somewhat slow tempo during the opening movement, and it wasn’t until the fourth of five movements that the concerto finally caught fire.

The concerto moves from section to section of the orchestra, highlighting soloists or ensembles, as the case may be. The playing from each section was exemplary, particularly from the violas in the third movement and the trumpets in the last. The great trombone slide in the fourth movement was also quite effective.

The best, however, was when Mr. Ferrandis gathered all the forces into the pulsating, kinetic energy of the last movement. Here the entire orchestra worked together to deliver powerful music from a twentieth-century master. While not the transcendent experience offered by Lisitsa, at least it came close. The Symphony has rarely sounded better.