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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.