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Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
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.]