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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 Festival’s 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 Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s 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 Rosa’s 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 Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s 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 Saëns, 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 Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s 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...
CHAMBER REVIEW
Sonoma State University Department of Music / Sunday, November 24, 2013
Trio Navarro: Roy Malan, violin; Jill Rachuy Brindel, cello; Marilyn Thompson, piano; Nancy Ellis, viola; Victor Romasevich, violin

(l to r) Ellis, Thompson, Brindel and Romasevich Backstage in Weill

DISCOVERY ANEW FOR THE NAVARRO TRIO IN WEILL

by Terry McNeill
Sunday, November 24, 2013

A major part of the Trio Navarro’s approach to chamber music has been discovery, as over many years they have explored novel (if not new or radical) corners of the small ensemble repertoire. November 24’s concert in Weill Hall was no exception as an unfamiliar piano quartet and trio were the evening’s most intriguing offerings.

Georgy Catoire’s lively and atmospheric A Minor Quartet opened the concert, and the Trio’s Victor Romasevich (violin), cellist Jill Rachuy Brindel and Marilyn Thompson (piano) were joined by violist Nancy Ellis. A frequent past guest, Ms. Ellis seamlessly blended with her colleagues in the unique fabric of Catoire’s music. The hothouse character of the quasi Wagner and late romantic score was in the first movement constantly reminiscent of Schoenberg’s orchestrated version of the tone poem Verklärte Nacht from 1917. This is surging and sexy music.

As in recent Navarro concerts Mr. Romasevich sat in for perennial stalwart Roy Malan, and elicited a different high string sound. His tone throughout the Catoire is not as wide and vibrato-laden as from Mr. Malan, but has a penetrating quality that easily stood out from the two lower string instruments. He also didn’t take several phrase-opening notes cleanly but as the work moved into the final Allegro he was sure-footed and sonorous. The ending gave hints of Ravel’s music and the unexpected tempo acceleration brought the 1916 piece to a ringing if not loud conclusion.

Mr. Romasevich was again in the forefront of a performance of Josif Andriasov’s C Minor Trio, Op. 7, as he had been a student of the composer and is a champion of Andriasov’s music. In quirky ways the 1957 Trio was aligned with some of the Catoire Quintet harmonies, although the Trio is a darker and more compelling work. In the first Allegro movement the ensemble playing was admirable, the violin line soaring often into the highest register even during several bucolic sections. The second movement had references to Shostakovich and Mieczyslaw Weinberg and was idiomatically played, as were the slow march motives of the finale.

Both the Catoire and Andriasov works demand of the listener an acceptance of a string and piano fabric of sound rarely encountered, and might not be to everyone’s taste. I found all the music persuasive and energetically performed.

No such lack of aquaintence came with the concluding work, Schumann E-Flat Major Quartet, Op. 47. The tempos throughout the four-movement piece from 1842 were judicious and Ms. Thompson’s deft playing captured Schumann’s bittersweet melancholy. The dynamic Scherzo featured some of the best string playing of the concert, the violin notes carrying to the back of the sparsely-attended hall and Ms. Brindel’s cello line was opulent. In the Andante’s “heart on sleeve” principal theme Ms. Ellis carried on fetching duos with Ms. Brindel and Mr. Romasevich, and the slow counterpoint was beguiling. There was no rush to get anywhere and the four musicians were comfortable giving each of their colleagues a turn at voice leading.

The Vivace finale was played without undue hurry but with Ms. Thompson forging ahead several feverant climaxes were built and the Quartet’s conclusion was decisive