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Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
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...
CHAMBER REVIEW
Valley of the Moon Music Festival / Saturday, July 22, 2017
Kyle Stegall, tenor; Elizabeth Blumenstock, violin; Tanya Tomkins, cello; Jeffrey LaDeur and Eric Zivian, piano

Pianist Jeffrey LaDeur and Cellist Tanya Tomkins July 22

ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT

by Terry McNeill
Saturday, July 22, 2017

One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sonoma attended the first concert.

Following lengthy introductory comments by pianist Eric Zivian, the artist played Bach’s first Prelude from the Well Tempered Clavier, and followed with Chopin’s first Prelude from the Op. 28 Preludes. The Bach was played with accented first notes in each bar with rock solid tempo and no forte at the climax. Both were played on a Mozart-era instrument copy, frequently featured in concerts by Mr. Zivian along with a c. 1841 grand. The Chopin playing was lovely with a soft arpeggiated last chord.

Tenor Kyle Stegall, violinist Elizabeth Blumenstock and cellist Tanya Tomkins joined Mr. Zivian in the six-minute “Ich Traue Seiner Gnaden” from Bach’s church Cantata In Allen Meinsn Taten, BWV 97. A judicious tempo allowed Mr. Stegall to artfully swell on the first note of each stanza, over a clear meandering violin part and the ground of the cello and piano lines. He sang without score during the entire concert.

With Roy Malan Ms. Blumenstock must be the most performing of Northern California violinists, playing frequently in festivals and baroque orchestras. She closed the first half with the monumental Chaconne from Bach’s D Minor Partita, BWV 1004. Bach was surely on fire when he wrote it, but Ms. Blumenstock’s small-scaled reading from score was persuasive but not to everyone’s taste. She used minimal vibrato, usually at the end of phrases, for small emphasis and to highlight transitions. Double stops were drawn out in a smooth, non-insistent approach that didn’t have a note above mezzo forte throughout. It was the slowest interpretation from a virtuoso in recent memory. The audience of 200 applauded warmly.

Schumann, the ostensible subject of the two-week Festival, wrote Six Studies for Pedal Piano, Op. 56, in 1845 for the now extinct piano with pedals and strings under the conventional instrument. Liszt had one in Weimar, and versions of the six include various groupings of instruments. Two-piano performances are occasionally heard, and here the music was divided in two groups of three – violin, cello piano; one piano, four hands. The “Nicht zu Schnell” had an improvisatory character, and the second supported a long, laconic theme with each instrument trading voices up to two chaste piano chords. The third (andantino) had the most Schumann character in a “call and response” mode. Echt German romanticism.

Jeffrey LaDeur took the treble piano part (though Mr. Zivian kept the damper pedal) and both gave an authoritative account of the final three Etudes. The first had Mr. LaDeur carrying the themes through a surprising modulation, and the jazzy Nicht zu Schnell was a low-key dance drama. The stately slow adagio clearly exposed the fugues that mostly ended with trills. It was low voltage playing of elegance.

In a program with lots of individual pieces the viola wasn’t forgotten as Andrew Gonzales played Schumann’s Rasch from the Märchenbilder, Op. 113, with fellow Festival apprentice Jennifer Lee at the piano. Mr. Gonzalez had a big sound, ranging from a will-of-the-wisp skittish bow to delicate slides on notes for emphasis.

The viola work past without much interest, where the following two Chopin Songs from Op. 74 were some of the highlights of the afternoon. Mr. Stegall sang one of the two most famous from the set of 17 (“Moja Pieszczotka” – My Joys or My Delights) in richly hued and distinct Polish, with an extended delicious ritard before the second stanza. He made a strong case for this tenor version rather than the more popular light soprano. The following “Melodya” was sung with unique rhythmic verve and a delicate postlude from Mr. Zivian.

The duo followed with two Schumann songs, Widmung (from the Myrthen set of Op. 25) and “Im Rhein, im Heiligen Strome.” Both were sung beautifully, especially the second from arguably Schumann’s greatest work, the Op. 48 Dichterliebe. Mr. Stegall is a master of dark contrasts, and Mr. Zivian’s long postludes were alluring and everywhere lovely.

Two more works finished the long program: Liszt’s popular transcription of Schumann’s Widmung song, and the largo from Chopin’s Cello Sonata in G. Mr. LaDeur played a subtle and perfectly phrased Widmung, never forcing the fortepiano’s sound but managing to give the impression of the greater sonority of a modern concert grand. It was fastidious pianism.

Ms. Tomkins played the short cello movement with the appropriate heart-on-sleeve ardor, using a wide vibrato. Most of the five-minute piece is in the lower register, and Ms. Tomkins made the most of her instrument’s deep sound and the beguiling theme. It was the melody that presumably most of the audience had in their ears on the way home from a unique and satisfying festival experience.