Symphony
MOZART THE SUBLIME IN UKIAH SYMPHONY'S CONCERT
by Terry McNeill
Sunday, September 22, 2024
Symphony
POTENT TCHAIKOVSKY INTERPRETATION IN PHILHARMONIC'S 25TH ANNIVERSARY OPENER
by Terry McNeill
Saturday, September 21, 2024
Recital
SPANISH MUSIC AT SPRING LAKE VILLAGE
by Terry McNeill
Wednesday, September 18, 2024
Chamber
BRASS OVER BRIDGES AT SPRING LAKE SERIES
by Terry McNeill
Wednesday, August 21, 2024
CALLEJA AND SANIKIDZE CHARGE THE ATMOSPHERE IN WEILL WITH SUMMER FAVORITES
by Pamela Hicks Gailey
Saturday, August 3, 2024
ENERGETIC SINGING IN CALLEJA/SANIKIDZE WEILL RECITAL
by Mark Kratz
Saturday, August 3, 2024
Chamber
MUSICAL CALM IN A WORLD OF POLITICAL IDIOTS
by Terry McNeill
Friday, August 2, 2024
Chamber
SUNBEAMS ON THE FESTIVAL DEL SOLE FROM THE FAR NORTH
by Terry McNeill
Thursday, August 1, 2024
Chamber
A FAURE TO REMEMBER
by Terry McNeill
Thursday, July 25, 2024
Chamber
DYNAMIC MENDELSSOHN AND SUBTLE BRAHMS AT FINAL PIANOSONOMA CONCERT
by Pamela Hicks Gailey
Thursday, July 25, 2024
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Harpist Anna Maria Mendieta |
VIRTUOSIC HARP RECITAL AT SPRING LAKE VILLAGE SERIES
by Terry McNeill
Wednesday, January 24, 2024
Not within memory has there been a formal North Coast harp recital, but Santa Rosa’s Spring Lake Village Concert Series produced one Jan. 24 with virtuoso harpist and consummate entertainer Anna Maria Mendieta.
Before a full house Ms. Mendieta performed a catholic recital of works from mostly known composers, in classy arranges for her instrument. The tall golden Lyon and Healy concert harp was placed on the hall’s stage with a silk cloth shielding the seven pedals from view.
Sonics in the non-reverberant hall were clear and the artist gave an extended verbal introduction to her program, and then ample verbal information on each of the 11 works, beginning with the ever popular Greensleeves and Dussek’s lively and charming Sonatina. Apart from Piazzolla’s long and fascinating Introduccíon al Ángel Ms. Mendieta played without score. Three small bells were sporadically heard in the menacing Piazzolla. Finger technique and control of the instrument’s sonority were exemplary, even with the difficult high treble strings.
Highlights were frequent: Debussy’s shimmering En Bateau; Albéniz’s Asturias with flamenco flavors and potent volume from concentrated close hand technique; and the closing Lecuona Malagueña’s many tempo changes and sweeping arpeggios.
Audience favorite seemed to be the Robert Maxwell’s Ebb Tide and a spiced up variations mélange from Rogers and Hammerstein’s iconic 1959 Broadway show The Sound of Music. Schmaltzy stuff? Certainly not in Ms. Mendieta’s virtuosic and charming interpretations.
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