Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
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.