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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
Oakmont Concert Series / Thursday, October 18, 2012
Gustavo Romero,piano

Gustavo Romero On Berger's Stage Oct. 18

FORMIDABLE PIANISM FROM GUSTAVO ROMERO

by Terry McNeill
Thursday, October 18, 2012

Austin-based pianist Gustavo Romero has a second artistic home in Sonoma County, having played three times on the Oakmont Concert Series and in a number of private concerts. He returned to Oakmont’s Berger Auditorium Oct. 18 to play a formidable recital of Bach, Beethoven, Debussy and Rachmaninoff.

In one of the longest programs in recent memory, Mr. Romero played three Beethoven sonatas, finishing the first half with the mighty “Appassionata.” Throughout the afternoon, he was never in a hurry to get anywhere, even in the finale of the Appassionata, where performers tend to pile up too many notes in too short a space, thus blurring the musical line. Mr. Romero is neither a pianist of the most subtle phrasing nor a great colorist. What you hear is what you get--unfussy and well-thought out interpretations, left foot always on the shift pedal, no extraneous facial expressions or mannerisms, serious communion with the composer. It’s an approach sharply different from that of Lang Lang nearly three weeks previously in Weill Hall. Mr. Romero is all business.

He began with a lyrical performance of the Andante from Bach’s second violin sonata, in the Godowsky transcription. It was a balanced reading with deft inner lines and terraced dynamics.

In the first of the Beethoven sonatas, Op. 78, Mr. Romero continued his leisurely tempos, with differentiated repeats. It was graceful playing, as was the following, the popular “Hunt” sonata. This work requires the gentle touch Mr. Romero brought to it, the big sforzandos all the more surprising. He used a light pedal in the Scherzo, and though his scales were clear, they were hardly crystalline.

The Appassionata, played often in Santa Rosa in the past five years, was a relaxed but thankfully a nonstructural interpretation. This sonata is emotional throughout, including the short set of variations making up the middle movement, which uses one of Beethoven’s most attractive melodies. Mr. Romero varies his trills from moderate to brilliant all through the piece, and twice he let the sound linger with long movement-ending fermatas. The finale, marked Presto, was hardly that but showed clear articulation, and the dynamic sweep was always under control. A careful but effective interpretation.

Tonal color was foremost in the three Debussy works that opened the second half. “Pagodes” was played atmospherically, with the pianist using half-pedal effects, creating a wash of soft and bell-like sounds. “La Soirée dans Grenade” has a habanera rhythm that Mr. Romero emphasized, almost to the detriment of the guitar effects. The last piece, “Jardins sous la pluie,” was played with a broad dynamic range, and the multiple dynamic levels were carefully rendered. Here the artist’s tempo was faster and the result was a highlight of the recital.

Rachmaninoff preludes, preceded by the early Op. 3 “Elegie,” closed the recital. The lush Chopineque melodies of the Elegie were languorously and elegantly played, leading to five preludes, each of a sharply different character. The B Minor of Op. 32, reported by Moiseiwitsch to be the composer’s favorite, was played with rich colors and a masterful control of pianissimo. A series of sleigh-bell sounds came with the Op. 32 prelude in G-Sharp Minor, the vocal nature of the writing beautifully underscored by the pianist. Two preludes in G followed. The Op. 23 version had the right “military” character with bright repeated right-hand chords, and the Op. 32 waxed nostalgic. In the latter, Mr. Romero played the final three chords chastely, with just the right silence between them.

The concluding prelude was the glorious one in D Flat Major, played here more slowly than usual. It had a monumental and powerful sound, and the chordal voicing was always even.

Repeating an encore of a past Oakmont recital, Mr. Romero played Turkish composer Fazil Say’s “Black Earth,” a 1997 work that makes use of held forte pianistic chords combined with hand-muted (on the strings) notes and quick right-hand figurations. It was a long encore but beguiling and well received.