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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 Festivalís 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 Rosaís Spring Lake Village Chamber Music Series. Before 140 in the Villageís 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 Rosaís 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 Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís 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 SaŽns, 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 Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís 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
Mastercard Performance Series / Saturday, October 03, 2015
Lang Lang, piano

Lang Lang Playing Bach 10-3-15 in Weill Hall (Drew Altizer Photo)

LANG LANG LAUNCHES WEILL HALL SEASON WITH EXPLOSIVE MUSICAL TRILOGY

by Terry McNeill
Saturday, October 03, 2015

Lang Lang has performed three times in Sonoma County, all reviewed at Classical Sonoma, and I was anxious when he mounted the Weill Hall stage Oct. 3 to hear what might have changed in his playing since September of 2013.

The program was exactly the same as played in recent Paris and Torino recitals (on YouTube) so the unique nature of the readings was somewhat familiar. And as the New York Times critic Anthony Tommasini has written, at a Lang Lang concert one hopes for the best.

Much of the best playing came with Tchaikovskyís 1875 work The Seasons, Op. 37b. The work is more effective with a selection from the set of 12, and in some printed editions and performances the poems that precede each month are written or spoken in Russian. Mr. Lang didnít opt for this construct (how is his Russian?) but no matter as he put his stamp on each, delighting in the contrasting poetic and stormy episodes. The pianist was achingly languorous in the ďJuneĒ Barcarolle and Autumn Song ďOctober,Ē and in ďSeptemberísĒ Hunting Song the volley of octaves in both hands were delivered with telling accuracy. The tempo for ďOctoberĒ was the slowest in memory and created a magical spell.

People always gravitate to Mr. Langís pyro techniques, but as in past recitals I find more interest when he uses melting phrases and a captivating pianissimo touch. This is a facet of his art that is mature and will last. In the concluding Christmas-NoŽl the Tempo di Valse had the appropriate winter enchantment but suffered from a long tasteless accelerando at the end. Itís a quiet ending, rare for a Tchaikowsky piano work, and the applause from the full 1,400 attendees in Weill was loud but not an ovation.

Bachís popular Italian Concerto (S. 971) closed the first half and the pianistís opening Allegro was brisk and arresting. New in his playing are abbreviated inner voices. These are not harmonic or stylistic voices that flesh out themes (such as heard in Hofmann and Cherkassky recordings) but piquant peppery accents that sometimes added charm to the music, and sometimes didnít.

Embellishments were often unique but persuasive in the leisurely Andante and Bachís swift contrapuntal lines were clear in the concluding Presto. The turn at the end was arpeggiated.

Following an extra-long intermission the artist tackled Chopinís four Scherzos. Ops. 20, 32, 39 and 54. In past Weill appearances the pianist has played extended sets of Mozart Sonatas and Chopin Ballades, and here the restless and histrionic demands of the great Poleís music drew aggressive and vehement interpretations. In the first B Minor Scherzo the lyric section was lovingly phrased and the difficult fiery coda powerful and convincing. A standing ovation followed the crashing final chords.

In the B-Flat Minor the performance reminded one of Artur Rubinstein, who played the Scherzo his entire career to close recitals. It had the requisite heroics but not enough of the workís charm. My gold standard for the second Scherzo is the matinee handsome Pole Witold Malcuzynski, who played it in Berkeley on his farewell American tour with half Mr. Langís virtuosity, but with subtle pedaling and chaste majesty. There was brilliant finger technique and sledgehammer force here but strangely many scales, especially descending, were blurred. Yes, itís hard to play really fast with clean note-to-note symmetry.

There was a standing ovation.

Mr. Langís strong fingers mastered the dramatic opening octaves of the C-Sharp Minor Scherzo, as he did beautifully in the chorale theme of leggierissimo arpeggios. This was a raucous spectacle of controlled pianistic fury and another standing ovation ensued, with the additional raw sound of hundreds of seat bottoms snapping to vertical as people jumped up.

A joyous change was the final E Major Scherzo, and Mr. Lang built short climaxes and elected a waltz character that emphasized sunny textures. By again speeding up the beginning of a coda the pianist missed conveying the enchanting phrase where the original rhythm returns. It seems he canít avoid tinkering with endings that generate gallery-thrilling effects.

A standing ovation greeted Mr. Lang, who acknowledged in all directions from the stage his pleasure in such a triumph, but he didnít return to the spotlight for a conventional set of encores. He first spoke about his Foundation 101 Pianist program for youth that would be on the same stage the next day, and then spoke of an imminent first trip to Cuba. For that he played a jazzy short Lecuona-like dance piece, as insipid as it was exciting.