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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
RECITAL REVIEW
Concerts Grand / Sunday, November 20, 2011
Elena Kuschnerova, piano

Elena Kuschnerova in Newman Auditorium Nov. 20

PASSIONATE SCHUMANN AND POETIC TCHAIKOVSKY IN ELENA KUSCHNEROVA PIANO RECITAL

by Terry McNeill
Sunday, November 20, 2011

Danish virtuoso Egon Petri once commented that most pianists “spend their melodic purse in small coin.” Elena’s Kuschnerova, in her second Concerts Grand appearance Nov. 20, would have none of that approach, playing a mercurial recital that left nothing on the table in the wake of her potent musical personality.

In SRJC’s Newman Auditorium the Russian dynamo, now living in Baden-Baden, took on Schumann’s mighty Symphonic Etudes, Op. 13, as the first half’s major work. These 12 studies are in the form of variations and require of the pianist a big chord technique, wide left-hand skips and the ability to carry perpetual motion sections to their extremes. In the Agitato fifth variation with its interlocking chords the playing was scintillating, and the brilliant final study in D Flat was a triumph of bravura. It was a brawny approach to one of Schumann’s greatest masterpieces, sonically thrilling. The audience of 115 rose as one in an ovation.

Six of Tchaikovsky’s pictures “Seasons”, Op. 37b, were played to begin the concert, and with a curious twist. The artist, after recalling her recital on the same stage three years ago, prefaced each of the six vignettes on the Russian months with a reading of the poems the composer appended to the score. And she declaimed short poems in richly-hued Russian, telling listeners that it was important to hear the words as the composer did when finishing the work in 1876. It was effective theater and combined perfectly with the selected months: May, June, July, August, October and December. In these works the pianist exhibited a light and often elegant touch, the opening arpeggios of “May” carrying to the top row and the Andante Doloroso e Molto Cantabile of “October” conveyed a haunting sadness. It was playing of conviction and occasional introspection. The Christmas “Noel” in A Flat was taken at a quick pace, a good thing due to the multiple repetitions of the waltz theme, and the generous phrase-ending rubatos were deftly performed.

Ms. Kuschnerova opened the all-Liszt second part as she did in the first, presenting mostly lyrical works and started with a chaste performance of the Third Consolation in D Flat, using the shift pedal continuously for color. In the six Liszt pieces the artist’s sovereign pianistic command was everywhere on display, the upper body in constant movement but both feet firmly on the damper and shift pedals. The second of the three Concert Etudes, “La Leggierezza,” was played with graceful arabesques and varied repeats, more delicate than powerful.

Power was on display in the concluding Mephisto Waltz No. 1, the untiring broken octaves and granitic chord playing seeming able to raise the cool temperature of the hall. The only pianistic missteps occurred in Sonetto 104 and in the transcription of the Schumann song “Widmung” where finger slips marred the otherwise ardent tonal portrayal of romantic dedication.

A month previously in the same venue and with the same piano Jon Nakamatsu played the three Sonetti Del Petrarca, and here Ms. Kuschnerova choose two of them, 123 and 104. The contrast between the two artists in these works was pronounced, as Mr. Nakamatsu lingered over many passages and stressed tonal color, where Ms. Kuschnerova choose an agitated approach with sporadic elegant phrases. However, the atmospheric ending of the Sonetto 123 captivated the audience, the pianissimo final b flat a flat notes hanging ethereally in the air for many seconds.

Three encores were demanded, beginning with the Siloti transcription of Bach’s B Minor Prelude, and the playing emphasized the softly descending harmonic patterns and inner voices in the left hand. Prokofiev’s explosive “Mercutio” movement from the 1937 ballet “Romeo and Juliet” and the March from the opera “The Love For Three Oranges” followed, each receiving carefully gauged but volcanic interpretations.

Elena Kuschnerova at 40 is playing at the top of her game, a fearless and passionate pianist in the music she wishes to present to the public.

The reviewer is the producer of the Concerts Grand series.