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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...
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.