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Chamber
JASPER'S LUSH PERFORMANCES OF STILL, DVORAK AND FUNG QUARTETS
by Abby Wasserman
Sunday, November 10, 2024
Symphony
A SHOUT AND SONIC WARHORSES AT NOVEMBER'S SRS CONCERT
by Peter Lert
Saturday, November 9, 2024
Choral and Vocal
ECLECTIC WORKS IN CANTIAMO SONOMA'S SEASON OPENING CONCERT
by Pamela Hicks Gailey
Sunday, October 27, 2024
Symphony
FRANKENSTEIN THRILLS IN UNIQUE SO CO PHIL CONCERT IN JACKSON THEATER
by Peter Lert
Saturday, October 26, 2024
Choral and Vocal
BAROQUE EXTRAVAGANZA AT AMERICAN BACH MARIN CONCERT
by Abby Wasserman
Friday, October 25, 2024
Recital
LARGE AUDIENCE HEARS AX IN WEILL PIANO RECITAL
by Terry McNeill
Thursday, October 24, 2024
Symphony
SRS' NEW SEASON OPENS WITH BEETHOVEN AND COPLAND IN WEILL
by Terry McNeill
Saturday, October 19, 2024
Chamber
TWO CHAMBER MUSIC WORKS AT MARIN'S MT. TAM CHURCH
by Abby Wasserman
Sunday, October 13, 2024
CALLISTO'S ELEGANCE IN UPBEAT 222 GALLERY CONCERT
by Terry McNeill
Friday, October 11, 2024
Chamber
FINAL ALEXANDER SQ CONCERT AT MUSIC AT OAKMONT
by Terry McNeill
Thursday, October 10, 2024
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.