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Chamber
EATRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti often used to appear in jazz venues (including SF Jazz and The Blue Note), but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of ef...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
Opera
SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
Symphony
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results don’t measure to expectations. With the Sonoma County Philharmonic’s Costa Rica concert June 19, the performance exceeded any heated or tenuou...
Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns. Conductor Norman Gamboa pr...
RECITAL REVIEW
Spring Lake Village Classical Music Series / Wednesday, June 06, 2018
Laura Magnani, piano

Pianist Laura Magnani June 6

COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL

by Terry McNeill
Wednesday, June 06, 2018

Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100.

The crowd numbers were unusually low due to a basketball playoff game on television and a special Bocce Ball tournament, but SLV Impresario Robert Hayden forged ahead and presented Marin-based artist Laura Magnani in a sparkling program of Chopin and Debussy.

Before beginning Chopin’s C Sharp Op. 26 Polonaise, Ms. Magnani talked at length about the composer’s relationship with his native Poland, and in the bold opening phrases of the extroverted Polonaise she did catch the flavor of the aristocratic dance. In the second bar was a stark missed note, and most would think that a dropped note so early would be unnerving for the performer. But it’s often quite the opposite, as every piano recital has playing on the key cracks, and it can be a relief to get the wrong note out of the way early. There were few over the rest of the recital, and the artist quickly established a distinctive and muscular sonority in nearly each composition.

Two Mazurkas followed (Op. 17, No. 4, and Op. 68, No. 2) and the plaintive Mazurka in A Major was lovely, with a beguiling pause at the end, and a good segue to Ms. Magnani’s playing of the rhythmically complex A Minor. She said in remarks that these Mazurkas were for Polish peasant dances, and her playing was indeed both atmospheric and sophisticated.

Two larger-scale Chopin works, the Fantasie-Impromptu and the G Minor Ballade, showcased the artist’s bright tone, tasteful ritards and consummate pedal control. Additionally, Ms. Magnani’s skips in both hands were accurate throughout the evening, and in the Ballade her technical command and interpretative power has markedly matured since a recital in Belvedere almost decade ago. Octave playing was fast and the accelerando prior to the second theme’s entrance was a new and sturdy interpretative touch. This Ballade performance told a story.

In additional extended remarks (on Debussy) the pianist underscored her Italian musical roots, and made exemplary connections to Debussy’s novel mastery of piano sonority. The two Arabesques (from 1888, at age 26) had the requisite color with the popular first in E not too fast, and the second (in G) showing a chaste staccato touch, humor and again those exact right-hand skips.

Debussy’s three Estampes (imprints) from 1903 received high-level readings with persuasive dynamic control. In Pagodes the bottom D and E flats were punctuated loudly, and in both this work and the Soirée dans Grenade Ms. Magnani’s repeated note phrases and cross-hand and close hand skips were virtuosic, and her vocal color captivating. The final Jardins sous la Pluie was played with commanding melodic and dynamic contrast, and with the stamina needed to establish the work’s excitement.

Expressive playing and stamina continued in the closing L’Isle Joyeuse, a popular Debussy piece where Ms. Magnani’s instrumental control produced animated excitement and brilliant sound in the flashing coda. Of course it brought down the house.

No encore was offered.