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Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festivalís 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosaís Spring Lake Village Chamber Music Series. Before 140 in the Villageís auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosaís Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
SYMPHONY REVIEW
San Francisco Symphony / Thursday, May 23, 2013
David Robertson, conductor. Marc-Andre Hamelin, piano

Pianist Marc-Andre Hamelin

FIVE FINGERS WITH THE STRENGTH OF TEN

by Steve Osborn
Thursday, May 23, 2013

"My name is David, and I'm going to be your conductor for this evening." With that corny but amusing opening line, guest conductor David Robertson introduced himself and the San Francisco Symphony to a less than full house at the Green Music Center on May 23. It was hard to understand why the place wasn't packed. The soloist, Marc-Andre Hamelin, is one of the top pianists in the world, and the program featured Gershwin's ever-popular "Rhapsody in Blue," along with two crowd-pleasers from Ravel: the Concerto for the Left Hand and "La Valse."

Maybe the opening piece, Elliott Carter's "Variations for Orchestra," is what kept them away. Written in 1955, the variations have all the characteristics of Carter's mature style: short, seemingly disconnected phrases; an abundance of dissonance; lack of anything hummable. Fifty years ago, those aspects may have turned off audiences, but these days they sound relatively tame. In truth, the performance on this occasion was lush, fluid and immensely rewarding.

Mr. Robertson clearly likes Carter, and he compared the composer's technique to the train of thought. "It's like the way we think," he said in his introduction: "Ideas jump off." As evidenced by the program notes, musicologists can have a field day picking apart Carter's formal structures, but the real strength of the piece lies with its impression on the listener. If your ears are open, there's a lot to hear. Beginning with short, pithy phrases from throughout the orchestra, the sound congeals into a kind of jagged unanimity, with notes scattered across several octaves at once.

Mr. Robertson kept all these disparate elements well under control, moving fluidly from one section to the next, occasionally using sweeping gestures to propel the Symphony forward. By the last of nine variations a palpable tension had been established, wonderfully resolved in the Allegro molto conclusion, complete with a fanfare from the brass and timpani.

After respectful applause and subsequent stage entry of a piano, Mr. Hamelin appeared with both arms seemingly intact to play Ravel's Concerto for the Left Hand. The pianist alternately rested his right hand on his right knee or anchored it on the bench for particularly vigorous passages. He needed all the anchoring he could get, for his left hand shortly displayed itself as an anatomic marvel of tremendous power and agility. Leaning heavily on the pedal, he generated a phenomenal sound, more than equal to the Symphony's exertions.

Mr. Hamelin swayed gently with eyes closed as he played, seemingly inhabiting the music. On occasion he arched his fingers into a kind of claw and descended upon the keyboard like a diving falcon, ensnaring his prey with pinpoint accuracy. The melodies rang out and the articulation was superb. Though limited to only five digits, he wrapped the entire auditorium in a gossamer veil of sound. Most important, he etched the Ravel concerto, which can often seem muddy, into a surprisingly well-defined, coherent whole. It's not one of the great concertos, but it's close.

After intermission, the 52-year old Canadian artist returned to play "Rhapsody in Blue," which began with a startlingly good clarinet solo and equally great contributions from the trumpets. After the raucous orchestral buildup, Hamelin--using both hands--calmed everyone down with a delicate solo played with the utmost tenderness. As with the Ravel, he so inhabited the music that he gave the impression that he was making it up as he went along. Each phrase led inexorably into the next in a truly bewitching performance.

The effect of Hamelin's and the Symphony's playing was like hearing "Rhapsody in Blue" for the first time. All those United Airlines commercials were purged from the brain, replaced by a work of undeniable power and originality. The Rhapsody may be "in blue," but this performance drew from the entire spectrum.

Playing Ravel's "La Valse" might seem anticlimactic after the glories of Gershwin, but Mr. Robertson and the Symphony invested the performance with the same degree of panache, so the choice ultimately made sense.

"La Valse" begins almost as if under water, with muted sounds coming from all directions. The conductor unveiled them gradually, using supple but expressive motions. As the sound gained in intensity, he provoked sharp outbursts and then settled into a demonic but controlled frenzy. "La Valse," written in the wake of the First World War, is about as ironic as music gets, recasting the imperishably happy waltz motif into a dance of death. Mr. Robertson enacted this role with vigor, transforming himself into an expiring ballet dancer as he hurled his arms to and fro across the podium. The end arrived with a bang, followed by sustained applause.