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SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
RECITAL REVIEW
MasterCard Performance Series / Saturday, September 21, 2013
Itzhak Perlman, violin. Rohan De Silva, piano

Violinist Itzhak Perlman

ITZHAK PERLMAN: HIGH VOLTAGE VIRTUOSO

by Steve Osborn
Saturday, September 21, 2013

Weill Hall at the Green Music Center in Rohnert Park is actually two halls: one inside the graceful building and one outside on the amphitheater-shaped lawn. The two connect at the back of the hall, where giant panels can be slid open to bring the outdoors in and the indoors out.

Perhaps the best view of this dual identity is to be had from the "choral circle," two or more rows of seats that encircle the sides and front of the hall. The seats on the sides face forward, so you can pan back and forth between the lawn and the stage, as if watching a tennis match.

This dual identity is visually striking, but it does lead to an important sonic challenge: how to transmit the sound outside while preserving the acoustics within. The answer at this point seems to be amplification in both spaces, as was made abundantly clear in the opening notes of Itzhak Perlman's Sept. 21 recital at Weill. For the first few bars of the opening piece, Beethoven's Violin Sonata No. 1, the sound of the violin within the hall rang out impossibly loud. The culprit was a discrete black microphone positioned a few feet in front of Perlman, who was seated in an electric wheelchair. A few seconds later, a hidden technician turned down the volume, and the violin assumed a more normal acoustic relationship with the piano, which was also miked.

For the purists in the audience, the illusion of unadulterated sound was shattered, but some acoustic compromises seem inevitable, given the nature of the space. In any event, Perlman's playing soon put all those issues to rest. He would be just as beguiling on an electric violin as on a Stradivarius.

All his fundamental qualities were on display in the Beethoven: a muscular sound marked by extreme fluidity, exquisite bowing, nearly perfect intonation, well-controlled dynamics and maximum expression. His many runs up and down the fingerboard were flawless, played as gently as the breeze wafting in from the lawn.

In the slow second movement of the Beethoven, a classic theme and variations, Perlman let the tune ring out and then made each variation utterly distinctive, from strident to sweet to majestic. His able accompanist, Rohan De Silva, led off the third movement vivaciously, striking the unexpected sforzandi to dramatic effect. Perlman echoed those surprises, then added some of his own, imbuing Beethoven's sonata with great narrative urgency.

That same sense of a master storyteller emerged in the next work, Grieg's Violin Sonata No. 3, his last and most popular sonata. This uber-Romantic work is just a few notes shy of being a full-blown concerto, particularly in the last movement, with its familiar call-and-response format. The opening movement has a strong sense of foreboding, with a repeated seven-note phrase punctuating the texture like an insistent Morse code. Perlman's bowing for this phrase was incredibly supple, shifting seamlessly from long notes to staccato bursts.

The dreamlike second movement, with its slow, heartbreaking melody, set the stage for the rollicking finale, replete with folk dances and virtuosic displays. Perlman really inhabited the sonata, displaying supreme confidence throughout its performance.

With those two full-fledged sonatas under his belt, Perlman opened the second half of the show with Kreisler's arrangement of Baroque composer Tartini's "Devil's Trill" sonata. The arrangement probably makes historically informed performers cringe, but it's a lot of fun, with incessant double-stops, portamento galore, and the obsessive finger-twisting trills of the title. By the climax, the melody is buried beneath such a thick layer of trills that the violin sounds like an entire orchestra.

Perlman followed the Tartini-Kreisler with two more Kreisler arrangements of obscure Baroque and Classical composers, first from Giovanni Martini and then from Francois Francoeur, whom he described as a "legend in his own home." Both were sonic baubles based on simple melodies.

Next came Tchaikovsky's "Chanson sans parole," which Perlman joked had been written for a friend of the composer's stuck in prison. This was somewhat meatier musically, with a charming lyric theme and some effective harmonics at the end. A Caprice by Henryk Wieniawski followed, again arranged by Kreisler, this time with bowing so rapid that Perlman's wrist fluttered like a bird's wing.

The program proper concluded with Brahms' "Hungarian Dance No. 1," as arranged by Joachim. Here Perlman set a furious pace with lots of rubato and some upper-position work that got a little dodgy toward the end. The encore, after thunderous applause, was Antonio Bazzini's "Dance of the Goblins," a showpiece to end all showpieces. The technical demands are almost beyond belief, but Perlman appeared unfazed as his fingers flew across the violin, each one apparently in several places at once. It would have been electrifying even without the microphone.

[Reprinted by permission of San Francisco Classical Voice.]