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Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
SYMPHONY REVIEW
Mastercard Performance Series / Tuesday, July 16, 2013
Russian National Orchestra. Carlo Montanaro, conductor. Jean-Yves Thibaudet, piano. Sarah Chang, violin

Russian National Orchestra

CHANG AND THIBAUDET WITH A RUSSIAN TWIST

by Terry McNeill
Tuesday, July 16, 2013

It's always a formidable task for a performer to appear last on a program after wildly successful performances earlier in the concert. That unenviable job fell to violinist Sarah Chang July 16 when she played the Barber Concerto, Op. 14, with the Russian National Orchestra in Weill Hall, following a splashy St. Saëns piano concerto and a riveting Shostakovich overture.

The Barber is ever lyrical, even in the perpetual motion finale, and throughout its 23-minute duration the bucolic nature of the work never quite gives over to extended virtuoso passages for the violin. Ms. Chang had a shaky start with intonation problems, but these were quickly resolved, and her command of the instrument's high E string notes was often thrilling. In the second movement Ms. Chang echoed Vitaly Nazarov's majestic oboe solo and widened her vibrato, the ending chord held to a lovely length by conductor Carlo Montanaro. The finale (Presto) was never a race, and Ms. Chang's flaying but accurate bow brought a rousing conclusion and loud applause.

St. Saëns' F Major Concerto (Egyptian) has never quite gotten its due, as the composer's popular G Minor concerto (No. 2) is often performed and the tighter and more introverted C Minor (No. 4) has slipped from the repertoire. Jean-Yves Thibaudet has been on a 10-year quest to change that, playing the Egyptian Concerto all over the world and recording it several times. He now seems to own it, ripping through the showy solo part with abandon, with occasional pungent left-hand sforzandi and continual forceful attacks. In the Allegro, most of the scale passages were played very fast and with half pedal, sacrificing clarity for a colorful wash of notes. This technique suited the music, and the orchestra responded perfectly at every juncture. The Andante, with ersatz Egyptian motifs, was performed lovingly, the ending tremolo in the cellos eerie and carrying to the back of the hall.

Speed returned in the Allegro finale. Mr. Montanaro asked for, and received, tumultuous climaxes from the orchestra. Mr. Thibaudet's right-hand skips were not always accurate, but the ascending interlocking-chord cadenza near the end was controlled thunder. Mr. Montanaro reined in the orchestra with an abrupt decrescendo just before the final potent chords. Exquisite.

This sensational performance brought the audience of 1,200 to its feet. After four curtain calls, Mr. Thibaudet played a long but limpid and chaste encore, Ravel's "Pavane pour une Infante défunte."

With two big-name soloists, how was the Russian National Orchestra under Mr. Montanaro? Fine indeed, as they showed in the concert's beginning with the fast-paced Shostakovich Festive Overture, Op. 96. The opening brass fanfare had sharp bite, and the winds and strings played a fast four-note theme with precision. It was an impeccable performance. One wonders if the Russian National crew could play this overture in their sleep.