Home  Reviews  Articles  Calendar  Presenters  Add Event     
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
Oakmont Concert Series / Thursday, June 14, 2012
Barbara Nissman, piano

Barbara Nissman On The Oakmont Stage June 14

VIRTUOSIC PROKOFIEV AND LISZT IN NISSMAN'S OAKMONT RECITAL

by Terry McNeill
Thursday, June 14, 2012

Barbara Nissman’s pianism is best heard on her own terms, with little comparison to current performance practices. This was in evidence June 14 when the venerable West Virginia artist returned to Sonoma County, playing a long recital in the Oakmont Concert Series before 160 in Berger Auditorium.

The recital was long because of the artist’s spoken introduction (both incisive and silly) and because the program was packed with pieces associated with Ms. Nissman’s lengthy career, beginning with study under the Bartok specialist Gyorgy Sandor.

Liszt's transcription of Bach's A Minor Prelude and Fugue (BWV 543) opened the program, a propitious choice. Though piano transcriptions of Bach's organ works from d'Albert, Petri and Busoni were once popular, the Liszt work is the one currently heard and Ms. Nissman gave it a wonderful performance, stressing contrapuntal clarity over sonority. The artist lacks a big sound at the piano and during the entire concert there wasn't a true fortissimo. No matter, clarity prevailed through the repetitive phrasing of the Prelude and there were some beguiling staccato touches in the Fugue. An auspicious and captivating beginning.

Ms. Nissman is billed as a Romantic pianist but Beethoven’s C-Sharp Minor Sonata (Moonlight) was the antithesis of a romantic interpretation, and the cantabile first movement was played fast and almost without rubato, the shift pedal used throughout. The sprightly rhythms of the middle Allegretto were put into high relief with sharp changes in volume and bouncy clarity. In the finale (Presto Agitato) the broken chords were played masterfully and the entire movement had drama, albeit without the last ounce of power.

Six of Prokofiev's Visions Fugitives (Op. 22) and his Op. 28 Third Sonata closed the first half. Ms. Nissman has long been identified with the Russian's compositions and played everything superbly, eliciting in the Visions, each fewer than two minutes, disparate and complex pianistic vignettes. In No.1 Ms. Nissman found a droll, wandering scene, and the nostalgia of the eighth. Toccata rhythms of percussive dissonance were brought out in No. 14, and a Satie-like lethargy of the concluding No. 1.

Prokofiev’s one-movement Op. 28 Sonata has always been a Nissman specialty and she began at a fast clip, the bright and dry piano sound ideal for the driving tempest of the work. Here the artist and composer became one and I cannot remember a better performance of this pointillist and virtuosic Sonata. The accelerando in the coda was potent, the bravura intoxicating.

Three Rachmaninoff Preludes, all in a variant of G, began the second half. The popular and bucolic G major from Op.32 had many individual touches and a unique rush in the concluding bars. The G-Sharp Minor Prelude, from the same set, drew an evocative sound of troika bells and the pianist stressed the cool colors of the work, long associated with Horowitz. From Op. 23, the concluding G-Flat Major Prelude had the requisite lyricism but was also a prosaic in phrasing, needing a touch of repose.

The afternoon's major work, Liszt's B Minor Sonata, surprisingly closed the recital as it usually closes the first half. Quiet endings are seldom part of a final work in a piano recital. Santa Rosa has recently heard the Sonata in the hands of Bronfman, Ohlsson, Hewitt, Spooner and also eight years ago from Ms. Nissman in SRJC's Newman Auditorium. Her performance hasn't changed much, and was again individual in the approach to exhibiting reserved dynamics, attention to structure at the expense of heroics and brilliant scale passages. The artist sporadically sounded frenetic in rapid octaves (forceful but not majestic) but they never failed her, and the velocity of the fugue was compelling. Ms. Nissman worked hard to get color from the hall’s piano treble, with some success, and her legato playing was seductive. In sum, and unconventional and at times perplexing reading of this great work that on balance succeeded because of her strong individual vision.

Applause was large but not loud, but Ms. Nissman was determined to perform Ginastera, choosing the final two of the Dances Argentinas (Op.2) as encores. Associated with the prolific Argentine composer for decades, the pianist played the popular Danza de la Moza donosa and Danza del gaucho matero with palpable energy and attractive guitar-like rhythms. As in the Prokofiev, identification with the works was total and the playing ne plus ultra.