Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
RECITAL REVIEW
Mastercard Performance Series / Thursday, October 20, 2016
Itzhak Perlman, violin; Rohan De Silva, piano

Violinist Itzhak Perlman in Weill Hall Oct. 20 (Cory Weaver Photo)

ARTISTRY AND AMPLE RELAXED CHARM AT PERLMAN RECITAL IN WEILL

by Terry McNeill
Thursday, October 20, 2016

Itzhak Perlman has fashioned a career that encompasses more than virtuoso violin performance, and includes teaching, narrating musical documentaries, score editing, humanitarian projects, charity events and an often an easy “ah shucks” demeanor that is always beguiling.

With pianist Rohan de Silva Oct. 20 in Weill Mr. Perlman programed just four works, but a balanced four that delighted a full house in Weill that included 70 stage seats. I don’t recall recital stage seats since Lang Lang’s Weill concert five years ago, or a recent sold out house for a classical music.

Following remarks by SSU President Judy Sakaki regarding Mr. Perlman’s celebrity status and her own recent appearance with an SSU ensemble, Vivaldi’s Op. 2 A Major Sonata was played. It was a classic warm up piece, pleasant with minimal vibrato and quickly forgotten.

Stravinsky’s Suite Italienne in the Samuel Dushkin arrangement came next, a masterful development of a banal theme into six intriguing parts that the violinist has played throughout his career. There is even a video of a White House performance before President Reagan, and that was 36 years ago. Mr. Perlman, using sheet music as he did all evening, played the contrasting sections with low-temperature aplomb, never forcing his tone. His trademark silvery bow technique and deft spiccato served this music well.

In the romping Tarantella Vivace Mr. de Silva’s piano line covered the violin, and in the familiar Gavotte Mr. Perlman’s notes in the low register didn’t sound. The double stops and dance figures of the Minuetto whirled to the end, and control of E-string effects was impressive. At 71 his command is still formidable.

Unfortunately Mr. Perlman's artistry has embraced less sonic projection than in past years, and this hobbled a lyrical but too often flaccid reading of Beethoven’s F Major Sonata (Spring), Op. 24. His lovely tonal equipment was of course present in this iconic work, but the playing never rose to even minor grandeur in the 1,400-seat Hall. Mr. de Rohin was of little help here, his scales downplayed to match the violin line and consequently were indistinct and muddy. Of course many small examples of consummate violin playing were on display, including deftly-held notes at the end of a phrase, perfectly-gauged vibrato and subtle control of slower-than-usual tempo in the concluding Rondo. It was a masterpiece played caressingly but never passionately.

Ravel’s G Major Sonata occupied the second half in a workmanlike performance that unlike the Ida Kavafian performance (earlier the same day at Oakmont) was of moderate temperature. In the Allegretto, the only Impressionistic part of the 1927 work, the playing was subdued and the piano and violin seemed at times to go their own way. Mr. Perlman captured Ravel’s unique timbre and color that reflected harmonies taken from the composer’s 1905 “Une Barque Sur L’Ocean” piano work. It was a richly hued mirror of the Impressionist “Miroirs.”

Some of the evening’s best playing came in the blues-infused second movement where the violin seemed to whine and sway under the virtuoso’s careful control. The Perpetuum Mobile finale past quickly and was delightful in character but was lacking in dramatic punch.

A standing ovation ensued and encores were expected. Four were performed, and the now well-known Perlman-de Rohan “skit” of bringing out a pile of sheet music for consultation (as to which to play) was enacted. Most concert goers know that possible encore music is assiduously rehearsed, but depending on your outlook this little drama is either affected or charming. The Weill audience was of the latter opinion and loved the passing of scores and Mr. Perlman’s facetious comments on “probably” playing encores in the same auditorium in 1912.

Several Fritz Kreisler transcriptions were forthcoming, the most persuasive being a lovely slow fox-trot dance with a bantamweight ending to begin the series, and the Tambourin-Chinois that ended it. The Tambourin was played with élan but Mr. Perlman chose a leisurely tempo that lessened the difficulty but enhanced the magic of the piece.

As a respite from showpieces one encore was the theme from the movie “Schindler’s List,” and at the last notes the audience was spellbound and for several moments silent.