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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 Festivalís 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 Rosaís Spring Lake Village Chamber Music Series. Before 140 in the Villageís 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 Rosaís 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 Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís 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 SaŽns, 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 Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís 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
Elena Kuschnerova / Sunday, March 01, 2009
Elena Kuschnerova, Pianist

Elena Kuschnerova at the Newman Auditorium Piano

FROM RUSSIA WITH LOVE

by Terry McNeill
Sunday, March 01, 2009

People attending pianist Elena Kuschnerovaís March 1 Newman Auditorium concert came with anticipation of a challenging afternoon, as the Russianís presence on YouTube and a comprehensive website disclosed a wide range of repertoire and powerful command of the instrument. I donít believe anyone was disappointed.

Part of the Concerts Grand series, the recitalís first section was all German, appropriate as Kuschnerova lives in Baden Baden, and itís the 200th anniversary of the birth of Felix Mendelssohn. The Variations Serieuses, Op. 54, and three of the Songs Without Words were performed with richly contrasting textures and a long lyrical line. The songs (May Breezes, Lost Illusions, and Spinning Song) received warm readings with a delicate touch and sprightly agility. The variations were played with consummate pianistic skill, notably the fugal (No. 10) and the following Schumannesque (No. 11). Everything was in place with technical dash, the descending left-hand figurations in the 15th variation resounding deep into the bass. Mendelssohn never wrote a better work for piano, and Kuschnerova gave a grand reading.

Bachís Second French Suite began the program. Kuschnerova played it in a carefully measured way, the architectural backbone surrounded by sparkles of notes, all held together by clear delineation of each of the voices. The fast Corrente was deftly played and the two-voice Gigueís dotted notes received an attentive performance in decorous Baroque style.

Kuschnerova chose only Russian composers for the second half, running a chronological gamut from the first great one (Glinka) to the controversial Alexander Lokshin (1920-1987). Glinkaís lovely short Nocturne La Separation mirrors Fieldís works of the same title, less complex and deep than Chopinís oeuvre, but no less lyrical. Tchaikovskyís Variations on an Original Theme, Op. 19, followed, and its 16-measure theme was nobly stated. The quirky third variation was brilliantly played, the alla mazurka ninth danced provocatively, and the conclusions of the fleet coda brought down the house.

The pianist preceded Alexander Lokshinís In The Spring and Prelude and Theme with Variations with an extended summary from the stage of Lokshinís tragic life under Soviet rule. Kuschnerova knew the composer, and her sympathy with his plight was palpable. In the Spring, a poetic 45-bar bagatelle, was lovely, and the variations were sharply dissonant and assured. A good number of the 85 in the audience stood to applaud, a novel demonstration for an unknown composerís work, and certainly a tribute to Kuschnerovaís passionate advocacy. Lokshinís music has had few champions, the conductor Rudolph Barshai now being joined by Kuschnerova in heralding a Soviet-era master.

Closing a memorable concert was the tumult of Stravinskyís Trois Mouvements de Petrouchka, virtuoso paraphrases of three scenes from the famous ballet of 1920. This polytonal transcription ranks with a handful of piano works (e. g., Lisztís Tannhauser Overture, Balakirevís Islamey, and Ivesí Concord Sonata) as the most difficult to play on the modern piano. Kuschnerova, who was not well during the entire recital, rose to the pyrotechnical demands of the Danse Russe and La Semaine Grasse magnificently. She seemed to tire towards the end, losing small details in the volleys of forte octaves, march-like chords and incessant bravura.

Three encores were offered, the best being another Mendelssohn song (Passion) and Silotiís transcription of the Bach Prelude in B Minor. The latter was a richly colored example of captivating legato playing.

Elena Kuschnerova communicated in a personal way with her Newman audience, serving the composers she chose to perform and exemplifying the majesty of the great Russian romantic piano tradition.

Marin pianist Ken Iisaka contributed to this review.