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Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
RECITAL REVIEW
MasterCard Performance Series / Sunday, April 07, 2013
Vadim Repin, violin. Andrei Korobeinikov, piano

Violinist Vadim Repin

VADIM REPIN: STARLIGHT, SHINING BRIGHT

by Steve Osborn
Sunday, April 07, 2013


Born in Siberia in 1971, violinist Vadim Repin is as Russian as they come, but he played nary a note of Russian music in his April 7 recital at the Green Music Center's Weill Hall. The closest he got was the last movement of the Janacek violin sonata, which celebrates the triumphal entry of Russian troops into Moravia during World War I. The other sonatas on his wide-ranging program--by Brahms, Grieg and Ravel--were far removed from any Russian influence.

Musicians, however, know no borders, as evidenced by Repin and his delightful accompanist Andrei Korobeinikov's superb renditions of all the nationalities that flowed through their fingers. The nearly full house was entranced by Janacek's pungent evocations of his native Moravia; by Brahms' full-bore German romanticism; by Grieg's ebullient vision of Norway; and finally by Ravel's scintillating portrait of 1920s Paris.

Of all the sonatas Repin played, the opening Janacek was the most dramatic. A born storyteller with a flair for opera, Janacek invests his music with psychological suspense, with phrases that sound like trains of thought or surging emotions. His characteristic device is the sudden interjection--a device that Repin has thoroughly mastered. Throughout the sonata, he brought these interjections into play like flashes of lightning. The result was pure suspense. To be sure, his rhythms were exact, his intonation razor sharp, his bowings a marvel--but what carried the day was the drama, the headlong rush into compelling narrative.

Now in his 40s, Repin has long since proved his technical command of the violin. Every aspect of his playing is admirable, from the suppleness of his vibrato to his impeccable bowing and phrasing. He is old-school in his disdain for histrionics. He plays with feet firmly planted, eyes often closed, and knees flexible. In the stormiest passages, he will sometimes swoop downward, but his posture is otherwise erect and serene.

The Janacek was a concert in itself, displaying the full range of Repin's abilities, particularly his ability to enact different roles. At times he was the intruder, threatening the musical serenity with thunderbolts. At other times he was the very image of pastoral quiescence, flowing as languidly as a slow-moving river. The final movement was an absolute marvel, its phrases imbued with mystery, suspense and ultimate triumph.

After the Janacek, the Brahms Violin Sonata No. 3 seemed almost staid. Repin and Korobeinikov opted for a smooth approach to this frequently played work. The opening phrases were light, with little vibrato. As the players dug in, they maintained an excellent balance, but the results were not as impassioned as in the Janacek. It was not until the final movement that Repin really got going. He roared right in, harnessing Brahms' wild horses and driving through the score like a man possessed. The wonderful cascade of sextuplets at the movement's climax was a high point of the afternoon.

During intermission, some of the crowd wandered outside to investigate the amphitheater behind Weill Hall's rear wall, which can be opened during warm weather. The skies were gray, however, and the air cold. Fortunately, sunny skies and warm breezes were only moments away, in Grieg's Violin Sonata No. 2. This irrepressible work is about as life-affirming as music gets, with one happy phrase following another in spellbinding succession.

Repin, who had bared his soul in the previous two works, seemed utterly captivated by Grieg's optimism. The musical narrative was somewhat predictable, but Repin squeezed every ounce out of the score. He played intelligently, with full knowledge of where the music was heading, and he made it look easy. He was so relaxed that his left hand barely seemed to move during the most dazzling runs.

The applause after the Grieg was sustained, but Repin quieted everyone down by launching into Ravel's only violin sonata. The change in mood was palpable. Over the lightest of piano accompaniments, Repin's fiddle sang an eerie pentatonic song with a rollicking 6/8 beat. Playing all the while, Repin began a long decrescendo that ended with the most pianissimo sounds this side of a mute. The sustained high note at the end of the movement was magical.

Bringing America to Paris, the second movement is marked "Blues: Moderato," and bluesy it is. Blue notes, emphatic syncopations and repeated glissandi herald the entry of the Jazz Age into classical music. Repin played all of this to great effect, but Korobeinikov seemed to get a little carried away, investing his massive chords with a bit too much oomph.

In contrast, the perpetual motion of the last movement was a model of balance. Repin, who had barely looked at his music all afternoon, stared intently at the score, matching his rapid-fire runs to Korobeinikov's prestidigitations. The excitement was infectious, culminating in a spectacular ending.

After an immediate standing ovation and a couple of curtain calls, Repin played one encore, finally acknowledging one of his fellow Russians: Jascha Heifetz's version of the heavenly "Estrellita," by Manuel Ponce. It wasn't real Russian music, but it was a fitting encore for a genuine international star.

[Reprinted by permission of San Francisco Classical Voice.]