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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...
RECITAL REVIEW
Music at Oakmont / Thursday, February 13, 2014
Ching-Yun Hu, piano

Pianist Ching-Yun Hu

HU'S ON FIRST, SECOND AND THIRD

by Terry McNeill
Thursday, February 13, 2014

Music at Oakmont in their eight-concert season features mostly instrumental ensembles, and rarely pianists. But when they do the pianists are pretty good. Ching-Yun Hu's performance Feb.13 in Berger Auditorium, for example, was at a first-cabin level of virtuosity.

A conventional repertoire first half included Chopin (the Second Sonata in B-Flat Minor) and Ravel’s "Gaspard de la Nuit," and the entire second part was pungent Spanish music. The Sonata emphasized the house piano’s bright treble register and was dramatic throughout. Ms. Hu took the controversial step of skipping the big first-movement repeat, and after the movement’s final doubled-down B flat chord she waded immediately into the superbly pianistic Scherzo. Here the ritards were sculpted, but the movement was played without sufficient verve or personality.

The familiar "Marche Funèbre" movement was played as slow as I have ever heard it. Ms. Hu's control here was total, as was her mastery in the splendid finale (Presto), which she played with minimal pedal, showcasing Chopin’s almost atonal sonority and chromaticism to mysterious effect.

Ravel's "Gaspard" closed the first half, and unlike Jean Efflam Bavouzet's muscular November performance at SRJC, Ms. Hu adopted judicious tempos and textures throughout this masterpiece from 1908. The flowing left-hand melody was constantly played pianissimo and evoked the fluid surroundings of the water sprite Ondine. It shimmered where it should have shimmered. The middle "Le Gibet" movement was played with a leisurely pace, lovely tone and a strong hint of mystery.

The great "Scarbo" finale was masterfully done, the finger articulation crisp and the damper pedal used sparingly. Ms. Hu alternated voices that were distinct and then hazy in this diabolic challenge to a pianist's technique.

Four works by Granados and a single work from Albéniz's "Iberia" (Book II) were played after intermission. The angst and longing of "El Amor y la Muerte" was vividly portrayed by Ms. Hu, her rhythmic flexibility and focus on interplay of voices always commanding. In Granados' "Oriental, No. 2" of the Op. 37 "Danzas Españolas," the short work was played rather roughly, the hard tone at times needed by the music and to be heard over Berger's audible HVAC system. "Andaluza" (Op. 37, No. 5) was deftly played.

Albéniz's "Triana" closed the formal recital. Here Ms. Hu played the off-beat accents and big contrasts with joy and abandon. It was Spanish splendor and brought a large ovation.

In a surprise encore selection, the pianist departed from the piquant Spanish rhythms and played one of Chopin’s greatest Nocturnes, the languorous and poignant E Flat of Op. 55. The performance was laced with grace and subtle inner voices that caught the "light beam" high E Flats in the right hand to telling effect.