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Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
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...
RECITAL REVIEW
Concerts Grand / Sunday, March 20, 2011
Evgeni Mikhailov, piano

Marin Pianist Joan Weinstein Greets Evgeni Mikhailov March 20

DRAMATIC 19TH CENTURY RUSSIAN WORKS HIGHLIGHT MIKHAILOV'S IMPOSING SRJC RECITAL

by Terry McNeill
Sunday, March 20, 2011

Dark and rainy skies parted March 20 at Santa Rosa Junior College for Concerts Grand’s last recital of the Santa Rosa season. However, the sun and warmth quickly brought a new and musical storm into the area, Russian pianist Evgeni Mikhailov’s virtuosity presiding through the works of Chopin, Schumann, Tchaikovsky and Mussorgsky.

Before 101 pianophiles in the small Newman Auditorium Mr. Mikhailov, having just ended a 25-concert American tour playing three concertos with a Polish orchestra, changed the printed program and began with five Chopin Preludes from Op. 28, surprisingly juxtaposing the opening C Major with Preludes 20 through 24. Here he set the stage for the entire concert, the playing outsized and with the C major an agitated and restlessness conception was established. The massive and majestic chords of the C Minor (No. 20) dissolved into a tranquil calm, and the G Minor Prelude was played with bravura in the left-hand octave solo. The D Minor was angry and defiant but from my seat I could not see if the artist changed fingers on the final fortissimo repeated notes in the bass. Each had substantial heft and asymmetrical timing.

Schumann’s lovely Scenes from Childhood (Kinderscenen), Op. 15, followed and was a reading that evoked memories of the Valentina Lisitsa performance from 2009 from the same stage. Here there were many deft touches, such as the long decresendo at the end of the Wichteige Begebenheit section and the elegant articulation in Fast zu Ernst. The well-known Träumerei and “The Poet Speaks” parts were not hurried, Schumann’s backward look at his youth in a small German town palpable. The Ukrainian Lisitsa would have been moved by the Kazan artist’s transversal of this fresh and memorable score.

Completing the first half was Mikhail Pletnev’s popular transcription of the Suite from Tchaikovsky’s Ballet “Nutcracker," laat played in Santa Rosa in 2009 by the youthful Armenian charmer Nareh Arghamanyan. Ms. Arghamanyan’s interpretation was diffuse and poetic and Mr. Mikhailov’s was red hot and impulsive. The insistent Tchaikovsky themes in the 17-minute composition were everywhere evident and the pianist opted for the difficult to accomplish combination of sonority and clarity. His damper pedal control here was impressive and the evocative bells of the second section were delicate and richly hued. The pianistic skips in the “Tarantelle” and the extended arpeggios in the “Intermezzo” spun out a noble theme, ending quietly with just a touch of right-hand flourish. There was sudden audience applause at the conclusion of the “Trepek”, a rare occurrence in a solo piano work, and striking contrapuntal figures in the Andante maestoso, the work’s longest section.

It was a scenic and convincing interpretation, and brought the hall to its feet in applause.

Mussorgsky’s monumental Pictures at an Exhibition comprised the entire second half, a ten-section recreation of paintings of one Viktor Hartman that the composer had seen in St. Petersburg in 1874. It’s a landmark of 19th century pianism, played last here thirty years ago by French pianist John Philippe Collard. Mr. Mikhailov began the opening soforzandos rather fast with an insistent ostinato left hand and some unique inner voices that never covered the main melody. His right hand repeated chords and expressive trills were fluently played throughout, and the Great Bogatyar Gate of Kiev had a brawny outline as well as resounding power and, yes, a lot of loudness. In difficult hand positions Mr. Mikhailov was able to maintain both the work’s required momentum and the return to the “Prominade” and a forceful second theme based on Russian chant. The pianist played the ending left-hand tremolos sonorously.

With ravenous applause a quiet encore was called for but Mr. Mikhailov was clearly not ready for bagatelles, and thundered a controlled performance of Rachmaninoff’s D Major Etude Tableaux, Op. 33, No. 9. It was a courageous choice, noble in it power and drama.

The reviewer is the producer of the Concerts Grand piano series.