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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
CHAMBER REVIEW

Dmitry Rachmanov playing in Forsyth Hall

VIGOR AND PIZZAZZ

by Terry McNeill
Sunday, February 01, 2009

The Russian pianist Dmitry Rachmanov is a careful and attentive player with ample power when needed, and he brought these qualities to a Super Bowl-day audience Feb. 1 at SRJC’s Forsyth Hall. Though the repertoire was a little conventional, the performances were probing and memorable.

In several ways the opening work, Beethoven’s Variations in F, Op. 34, was the most finished presentation of the afternoon, the fifth recital in the current Concerts Grand season. All was in place – rhythmic control, subtle dynamics, and clear articulation. Each of these variations has an individual personality, elegantly brought out by the pianist. It was a rarely programmed piece played marvelously.

The afternoon’s cornerstone work, Schubert’s “Wanderer” Fantasie, D. 760, received all of Rachmanov’s pianistic artistry without being wholly successful. Make no mistake, the powerful momentum and drama needed in this work (which Schubert reportedly couldn’t play) were in place. What was missing was the comprehensive whole, the polish which Rachmanov lavished several years ago on works by Schumann and the Russian composer Nikolai Medtner in a Marin recital. Rachmanov had everything in hand with Schubert’s forward-looking work, including a secure octave technique, consummate phrasing and stamina to burn. After the recital the artist mentioned that it was only the second time he had ever played the great Fantasie in public, and pieces of that magnitude take time to gel. He has his arms around the Schubert, but it needs more refinement.

Following intermission two works were offered: Stravinsky’s Sonata from 1924 and the “Le Tombeau de Couperin” of Ravel. Stravinsky's thin-textured Sonata is in a Baroque style, though the Adagietto is florid and warm. Rachmanov’s playing here had solid rhythmic control and just the right amount of “detache” finger staccato. In the Ravel, the captivating and gentle outdoor-sounding Fugue in the final storm of the Toccata brought the small audience to its feet. The six pieces of “Le Tombeau” are Ravel’s homage to the 18th century and, like the Schubert, were played with urgency, if without the last measure of polish. The Rigaudon had the right dose of vigor and pizzazz, and the Minuet spotlighted the lyricism of the upper registers.

No encores were given, but Rachmanov enjoyed the acclaim and commentary of the piano cognoscenti after a recital filled with ardent and noble music.

The reviewer is the Producer of the Concerts Grand series.