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Chamber
EATRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti often used to appear in jazz venues (including SF Jazz and The Blue Note), but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of ef...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
Opera
SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
Symphony
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results don’t measure to expectations. With the Sonoma County Philharmonic’s Costa Rica concert June 19, the performance exceeded any heated or tenuou...
Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns. Conductor Norman Gamboa pr...
RECITAL REVIEW
Dominican University / Sunday, November 10, 2013
Gustavo Romero, piano

Pianist Gustavo Romero Nov. 10

TOUR DE FORCE

by Terry McNeill
Sunday, November 10, 2013

Pianist Gustavo Romero has become a frequent Sonoma County visitor, playing in several Santa Rosa halls and homes in recent years. On Nov. 1, he made his Marin County debut at Dominican University’s Guest Artist Series in Angelico Hall.

The Dallas-based artist eschews stage flair and keeps remarks to a minimum, instead sitting mostly motionless at the piano, left foot always on the shift pedal. He exhibits a palpable concentration on the matters at hand.

Romero opened with a sensuous Godowsky transcription of Bach’s Andante from the solo violin sonata in C Major. Here the contrapuntal lines were clear and the slow tempo perfect for the work. The sound abruptly changed for Schubert’s three "Klavierstücke" (piano pieces), D. 956. The E-Flat Minor piece had an energetic reading, almost raw in places, and the concluding C Major was played with fetching syncopations and harmonies. It was forceful Schubert throughout. The five concluding chords of each piece were perfectly weighted, each with a slight diminuendo. Mr. Romero is not a colorist and his muscular Schubert might not be to everyone's taste, but there were many colorful moments in this work from Schubert's last year.

Chopin’s Barcarolle, Op. 60, followed. Here Mr. Romero was in a ruminative mood, the lyrical lines flowing in an expansive interpretation that featured arabesque-like melodic contours.

Finishing the first half was the explosive tour-de-force Fantasy (1989) by Krystof Maratka, who was 17 years old at the time. Written for the pianist, the Fantasy was propulsive and martial throughout, and Mr. Romero mastered the formidable difficulties with both bravura and stamina. The Fantasy seems to link to the early 20th century composer George Antheil, with its loud hammered chords, wide skips in both hands and driving rhythms. The audience loved it and gave Romero a clangorous ovation.

Six of Rachmaninoff’s sonorous pieces comprised the second half, beginning with the Op. 3 Elegy. Here the long phrases had graceful beauty but also emphasized the piano’s out-of-tune treble notes. The Op. 32 Preludes came next (Nos. 10, 12 and 5) and were lovingly played. The great B Minor, a favorite of the composer, had the right juxtaposition of repose and drama, and in the popular G Major the chaste theme sang out. This Prelude and the subsequent Etude-Tableaux (Op. 33, No. 2) gave the impression of cold Russian winter nights, with sleigh bells ringing in the latter piece. The effect was captivating.

Following a orchestral final Prelude in D-Flat Major, the pianist’s solo encore was a signature piece for him, Turkish composer Fazil Say’s "Black Earth." Here sections of strings were muted by Romero’s left hand, simultaneously with rapid arpeggios played with the right hand, and then richly hued and widely-spaced resonant chords. It was an encore that capped a terrific recital from a serious and arresting musician.