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Chamber
FRISSON DELIVERS SHIVERS OF DELIGHT
by Abby Wasserman
Sunday, March 30, 2025
Chamber
THE PARKER CAPTURES DEMANDING ADES QUARTET AT RAC SEBASTOPOL CONCERT
by Peter Lert
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Chamber
SPLENDID ECHOES ACROSS THE BAY
by Abby Wasserman
Sunday, February 9, 2025
ETHEREAL DUO IN WEILL HALL RECITAL
by Pamela Hicks Gailey
Thursday, February 6, 2025
ESPANA SEGURO AT SO CO PHIL'S JACKSON THEATER CONCERT
by Terry McNeill
Sunday, February 2, 2025
Choral and Vocal
MASTERFUL SINGING CLASS IN SCHROEDER HALL
by Pamela Hicks Gailey
Sunday, February 2, 2025
Recital
MUSICAL POT POURRI AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Friday, January 31, 2025
CELLO AND CLARINET HIGHLIGHT TRIO NAVARRO'S CONCERT
by Ron Teplitz
Sunday, January 26, 2025
SONGS OF LOVE, IN A WARM TRIO
by Pamela Hicks Gailey
Sunday, January 26, 2025
Symphony
EARTHLY PLEASURES AT THE VALLEJO SYMPHONY
by Peter Lert
Sunday, January 19, 2025
CHAMBER REVIEW
Spring Lake Village Classical Music Series / Wednesday, January 24, 2024
Anna Maria Mendieta, harp

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.