Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
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.