Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
RECITAL REVIEW
Green Music Center / Sunday, January 22, 2017
Wei Luo, piano

Wei Luo Playing Shostakovich Jan. 22 (J. McNeill photo)

RISKY SPEED IN POTENT LUO RECITAL

by Terry McNeill
Sunday, January 22, 2017

Each half of pianist Wei Luo’s Schroeder Hall recital Jan. 22 contained beguiling interpretations and consummate technical command of Shostakovich and Albeniz works, but each half finished with less than exalted playing.

Two of Shostakovich’s Op. 87 Preludes and Fugues opened the recital, from the wonderful set of 24 that are played often, and by such disparate artists as jazz pianist Keith Jarrett and the Russian Tatiana Nikolayeva (the dedicatee).

Ms. Luo chose the D Major (No. 5) and the grandiose D Minor that concludes the set. The first received a jaunty reading that emphasized the rippling chords in the treble and subtle right-hand voices that were well mated to the hall’s warmly voiced piano. In the fugue repeated notes were played with just the right dry touch that moved to a forceful end. But no less forceful was the great 24th Prelude and Fugue, starting with sonorous bell notes and moving inexorably to the big-boned fugue of considerable power. A mature and potent interpretation.

Beethoven’s C Major “Waldstein” Sonata should have been the recital’s capstone, but was not, as Ms. Luo chose a tempo that constantly blurred passage work and dynamics that overwhelmed the Sonata’s humor and classical impact. It was predictable playing for a young artist – minimal attention to ritards, over pedaled and with scales where individual notes sank into a sonic bog. Wit in this intricate movement was absent.

The playing in the chaste Adagio was also predictable, slow to the point of losing focus and too loud at the one place that builds a climax.

Pianists all play the opening of the marvelous Rondo (save for Hofmann’s stunning interpretation recorded in 1938) in the same soporific way, and Ms. Luo followed this practice. And she took the conventional path of blurring the sound with no pedal change in the fifth measure, giving the swirling phrase a wash of color at the expense of clarity. By punching out so many chords so loudly the humor of the Rondo was lost, and the modestly sized Schroeder Hall was overwhelmed with percussive and forte-fortissimo sound. Virtuosity in Beethoven doesn’t always have to be stridently tumultuous.

The long trills were played well and the artist chose to play the glissando octaves in two hands as fast scales. Applause from the audience of 125 was polite but not extended.

Following intermission playing of a different sort came in three Book I selections from Albéniz’ masterful Iberia. “Evocación” was carefully phrased and unfolded without hurry and with rich tone color. “El Puerto” was also evocative along with a “skittish” character, wholly suited to the piece. Rhythmic variety and a husky sonority were present in the concluding “El Corpus en Sevilla”. There was no applause, the audience perhaps simply happy to hear so many provocative details in this mesmerizing Spanish music.

The Albéniz is far harder to play than Prokofiev’s B Flat major Sonata (No. 7) that closed the program, and the Op. 83 Sonata is arguably the most played 20th Century piano sonata. Dennis Matsuev presented a volcanic rocket-speed performance of it in Weill several months ago, and Ms. Luo began the opening march loudly but with the tricky rhythms well in place. The composer was said to have wanted most of his Sonatas played with machine-like rhythmic control, and Ms. Luo has this in abundance.

The slow movement (maybe a rose between two thorns?) had the requisite mystery only at the end, and the bass often covered the right hand tune. The famous Precipitato was played as perpetual motion and it was easily enough to generate palpable excitement. It’s that kind of piece, raucous with the punctuation of four furious B Flat ending chords.

Ms. Luo offered one encore, Rachmaninoff’s transcription of his Vocalise, Op. 34, No. 14. Her interpretation of this short melancholic song was sobering, convincing and beautiful.