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Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
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.