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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
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.