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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...
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.]