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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
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...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, May 05, 2019
Bruno Ferrandis, conductor. Alexander Toradze, piano

Pianist Alexander Toradze

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 concert, led by conductor emeritus Bruno Ferrandis.

The movement in question was the central Andante of Shostakovich’s Piano Concerto No. 2, a crystal-clear mountain lake perched between two torrential Allegros. The elfish Mr. Toradze, a last-minute substitute for an ailing Olga Kern, established a commanding presence in the opening bars of the first movement and never let go. Planted firmly on the bench and staring down at the keys, he projected well and generated lots of volume, aided by Ferrandis’s strong command of orchestral dynamics. Mr. Toradze’s runs up and down the keyboard were energetic and flawless, and he was wonderfully responsive to his fellow players.

Shostakovich wrote the concerto for his pianist son, and the first movement is a playful romp designed to show off the piano’s brilliance amid some inventive orchestration. The movement ended with wild applause followed by laughter as Toradze pretended to shake out his hands after their strenuous exertions. The laughter turned to pin-drop silence moments later as the orchestra established a lush background, followed by a series of magically suspended notes from the keyboard, a la Rachmaninoff. Mr. Toradze played his haunting melodies at the edge of audibility, floating above his accompaniment like a beneficent cloud. The end, when it came, was all too soon.

Mr. Toradze then segued effortlessly into the concerto’s sprightly finale. He replaced his languid sustains with a virtual perpetual motion machine, racing around the keyboard faster and faster until he achieved warp speed, bringing the orchestra along with him. A thrilling timpani flourish brought the proceedings to an end.

The raucous audience insisted on an encore, so Mr. Toradze asked which movement they would like to hear again. The consensus was for the second movement, even though some audience members lobbied for a complete repeat. The second time through was even better than the first. All you had to do was close your eyes and float away.

Before the Toradze fireworks, the Symphony set the mood for an afternoon of Russian music with a beguiling performance of Stravinsky’s Scherzo fantastique, an early work with several hints of the genius to come. One hint is the characteristic Stravinsky sound of sharply etched winds against a shimmering wave of strings. Others include persistent syncopation and unusual orchestration.

Despite these hints of greatness, the Scherzo lacks an overarching narrative to tie the diverse musical strands together. The orchestra played well, but the piece sounded episodic and at times meandering.

The Tchaikovsky symphony (No. 5) that ended the program was another story altogether. The clarinet duet that opened the first movement, followed by magisterial lines from the strings, announced the beginning of a long journey, one marked by hardship and emotional upheaval. Ferrandis was full of nervous energy as he exhorted the strings to apply more vibrato and the orchestra to intone more forcefully. The result was deeply expressive playing, as the band leaned into syncopations, crescendos and a long series of cadences. The repeated ascents and descents seemed to mirror Tchaikovsky’s fervid mental state, where moments of elation lead inexorably to precipitous declines.

The French horn solo at the beginning of the slow second movement was beautifully played by Caitlyn Smith Franklin. Her mellow, fluid and expressive sound led to an equally rich melody in the cellos. The drama continued as Mr. Ferrandis encouraged rhythmic flexibility in interpreting Tchaikovsky’s dramatic score. The strings spoke as one, but the mid-movement brass fanfare served as the emotional peak.

The famous waltz in the third movement carried listeners into more familiar Tchaikovsky territory, with one inventive dance after another marked by rapid handoffs between the orchestral sections. The strings kept up a furious pace, and the long bassoon solo by Carla Wilson helped tie the disparate elements together.

The tragic theme of the final movement is stated at the outset, and the rest of the piece attempts to turn that tragedy into triumph. The pace soon quickened, and the players once again launched into a series of cadences, each one marked by meteoric rises and rapid falls. Through it all, the orchestra played impeccably, transporting the listener on a rolling wave of sound. A frenzied ending, marked by blaring brass and thunderous timpani, led to a final statement that felt at once heroic and ambiguous.

[Reprinted by permission of San Francisco Classical Voice.]