Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
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.