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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
Trio Navarro / Sunday, April 06, 2014
Jill Rachuy Brindel, cello; Victor Romasevich, violin; Marilyn Thompson,piano

Trio Navarro April 6 in Weill Hall

THEMATIC OPULENCE FROM THE TRIO NAVARRO

by Terry McNeill
Sunday, April 06, 2014

Northern California’s Trio Navarro presented just two works in an April 6 Weill Hall concert, an event with consummate playing, inspired drama and ample thematic richness.

Schubert’s B-Flat Major Trio, D. 898, was the evening’s highlight and was familiar fare for the estimable Navarro. The wonderful opening Allegro Moderato was initially played with restraint but became warmly lyrical in the exposition and development, yet devoid of any sentimentality. This is music of eternal sunshine.

The sublime Andante featured the duet work of cellist Jill Rachuy Brindel and violinist Victor Romasevich. Their playing was tender but without the slow tempo and sweeping ritards of the iconic Cortot-Thibaud-Casals recording. The many modulations were deftly performed and the ensemble balanced. Pianist Marilyn Thompson was always discretely supportive. With only 65 in the hall that seats more than 1,400, the Trio’s sound was direct and clear below a mezzo-forte with a long reverberation time.

In the concluding Scherzo and Rondo movements the work’s length in less capable hands can sound overly extended, but the Navarro shaped the rise and fall of phrases lovingly, and the chorale in the Scherzo’s middle was elegant. After all, for musicians Schubert has heavenly length.

After intermission Arensky’s first Trio, the now-popular D Minor of Op. 32, was played very well but in the end wasn’t totally convincing. As with the Schubert, the Navarro opted for tempos that were at times brisk with repeats played at a volume and with rhythms that were the same as in exposition. It worked well with the Schubert but didn’t quite capture the ambiance in music inspired by Tchaikovsky and foreshadowing Rachmaninoff.

The majestic first movement theme was played strongly but tonally thin by Mr. Romasevich, and the piano sound in fast runs at half pedal was indistinct and lacking the needed finger staccato. Acoustics in the nearly empty hall contributed to this pianistic blur; the opening of the smaller Schroeder Hall cannot come too soon. The trio in the Scherzo was played in a gay style, almost a waltz, and Arensky’s melodic gifts were spotlighted in the Elegia, begun with Mr. Romasevich’s retuning his violin and a subsequent fervid low register duet with Ms. Brindel.

In sum the performance was never pedestrian but also never quite seized Arensky’s subtle lyricism and late romantic-era phrasing. Clearly Arensky’s neglected second Trio in F Minor, with its poetic cello writing, should be on the Navarro’s list of scores to perform.