Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.