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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

Jeewon Park and Edward Arron

RICH PALETTE OF CELLO COLORS IN ARRON-PARK OAKMONT RECITAL

by Terry McNeill
Thursday, January 08, 2015

Rachmaninoff’s haunting cello sonata highlighted Music at Oakmont’s first 2015 concert Jan. 8 in the retirement community’s spacious Berger Auditorium.

In a reading that was both muscular and lush cellist Edward Arron and pianist Jeewon Park explored the ripe romanticism of the Russian’s 1901 G Minor work, replete with references from the F Minor Piano Concerto of ten years earlier. It was played sumptuously with initially fast tempos and piquant inner voices. Mr. Arron is a cellist with an approach mid way between Sonoma County favorites, adding some of Zuill Bailey’s architectural phrasing and some of Yo Yo Ma’s extravagant sonority to his virtuoso execution.

Ms. Park was not a note perfect pianist in this expansive piece (who is with Rachmaninoff’s piano demanding writing?) but never covered her partner. Balances throughout were clear and the glorious Andante movement (really a Largo) had autumnal shape and emotional depth.

The finale was a tour de force of potent chamber music with noble passages, lovely long ritards leading to the rollicking coda and an equally long and swelling vibrato on the cello’s last note.

Two Beethoven works formed most of the first half, the early Variations on “Bei Mãnnern” from Mozart’s opera “The Magic Flute,” and the C Major Sonata, Op. 102, No. 1. Playing from score as he did throughout the afternoon Mr. Arron perfectly combined his sonority with the piano line in the seven Variations, and many high notes near the end had an ethereal whine and a Turkish flavor. In the Sonata, Beethoven’s fourth, the music is far removed from the often impetuous third Sonata, and this performance underscored the cello’s lower register in the slow introductions to each of the two movements. The artist’s intonation was sure as was his spicatto bow technique. His instrument can growl as well as lyrically exalt, and both artists managed the long phrases in the introductions with consummate ease and beauty. It was a performance of depth and attention to the smallest detail.

Piazzolla’s Le Grand Tango closed the first half, a 1982 composition that was packed with snazzy tasks for Mr. Arron – fast scale passages, slides that were a shadow of portamento, delightful sonic blurs and strongly syncopated rhythmic playing from both Ms. Park and Mr. Arron. The piece surpasses the more popular “Liber Tango” in complexity and impact, and it brought the first of two standing ovations from the 150 in the hall.

For an encore, Mr. Arron spoke to the audience about “cooling down” from the sonorous Rachmaninoff ending, and played a delectable six-minute Dvorak “Silent Woods,” an 1893 transcription by the composer from a two-piano suite. It had harmonies of early Richard Strauss, and the quiet melancholy and leave taking of the work left the audience in a brief reverie.

In technical accomplishment and interpretative richness it was one of the finest cello recitals in memory on the North Coast.