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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...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
CHAMBER REVIEW
Elena Ulyanova / Friday, November 14, 2008
Elena Ulyanova, Pianist

ULYANOVA WINS THEM OVER

by Terry McNeill
Thursday, November 20, 2008

A pianist planning a West Coast debut recital in front of a fashionable and cosmopolitan audience faces a daunting prospect, especially when playing virtuoso works familiar to all. Ukrainian pianist Elena Ulyanova surmounted most of these obstacles Nov. 14 with formidable energy at Tiburon’s St. Hilary Church. The event was the second Concerts Grand recital of the year and part of the wildly popular classical series produced by St. Hilary Music Director Vince Stadlin and Cantor Kenneth Graham.

Fresh from recitals in Chicago and Washington DC, Ulyanova began briskly with Soler’s Sonata in D (R. 84), a work which, though effective, reminds one that everything Padre Soler wrote was done much better by Scarlatti, and with more humor by Haydn. Another matter was Beethoven’s Sonata in F, Op. 57 (Appassionata), a driving and dramatic odyssey that allowed Ulyanova full rein in displaying her cross-hand and fast scale technique. As throughout the evening, she chose fast tempos that often blurred the thematic lines and compromised the lyricism. But this is a “go for broke” piece and was not the least underplayed, with Ulyanova pushing lines and suppressing voice leadings to accentuate the excitement. It was a performance quite different from the recent Elena Casanova Appassionata rendition in Ukiah. Both readings were idiomatic and widely diverse in coloristic effects and weight.

The first half closed with the Andante Spianato and Grand Polonaise Brillante in E Flat, Op. 22, an early Chopin work that virtuosos such as Hofmann and Horowitz made famous. The performance was relaxed and architecturally tight, and the poetic Andante was carefully phrased and assured. Rhythms in a Chopin polonaise are tricky to project, especially when played in a sprightly manner, and Ulyanova on this recital decided that rhythmic nuance was subordinate to lyrical momentum. Her concluding cascade of scale passages was effective at full pedal, and she ended with five triumphant E Flat unison chords.

Two Debussy Preludes began the second half, Brouillards and Ondine. Both had the right atmosphere but continued the inclination to fast tempos. This absolute French music is as much about the silences as the actual notes. One longed for other Debussy works to display Ulyanova’s staccato touch, perhaps “La Danse de Puck” or “La Puerta del Vino.”

Two Rachmaninoff selections closed the program, the first the short and dreamy Prelude (in G, Op. 32) and the second the volcanic Second Sonata in B Flat, Op. 36. Ulyanova’s fleet approach was ill-suited to the nostalgic Prelude, the playing of which can evoke memories of cold Russian nights and moonlit snow. Here it sounded like playing in a piano studio, uninvolved, the last three chaste chords played unadorned with no retard or diminuendo.

Any uncertainty about Ulyanova’s command of Rachmaninoff’s bravura was swept away with an orchestral performance of the great Sonata, in the Horowitz edition. The first movement opened with resounding chords in the bass, getting more sound from the house Baldwin concert grand than regular St. Hilary parishioners could remember. The middle movement Non Allegro had the requisite songfulness, though again with a tendency to the perfunctory. The finale brought out all of the pianist’s heavy artillery – massive broken octaves, endurance, wide skips and brilliant passage work. The individual parts of the sonata often seem greater than the whole, but Ulyanova brought opulent passion that conquered all. Nothing was left on the table.

Following the bagatelle of a Scarlatti encore, the audience proceeded to the lavish Parish Hall for a splendid buffet prepared by the church staff, and more piano playing, albeit with less serious repertoire, from Ken Iisaka, Gini Wilson, Kenn Gartner, Elizabeth MacDougall, David Caldine, Elena Casanova and the effervescent St. Hilary Pastor, Fr. James Tarantino.

Note: The reviewer is the producer of Concerts Grand series.