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SIX GUITARISTS IN UNIQUE NAPA RECITAL
by Gary Digman
Sunday, July 25, 2021
The first Napa Valley Guitar Festival was held at Napa’s First Presbyterian Church July 25, and featured performances from six classical guitarists. The Church is an iconic structure in downtown Napa, its huge white presence dominating the scene, and the white theme continues inside punctuated by be
Chamber
CLARA SCHUMANN TRIO COMMANDS VOM CHAMBER MUSIC CONCERT AT HANNA
by Terry McNeill
Saturday, July 24, 2021
The Valley of the Moon Chamber Music Series has begun several virtual and a few live concerts in its new seventh season, some broadcast from Sonoma’s Hanna Center Hall and some in posh local venues. July 24’s video had a small live audience and a well-produced video program of three works. Titled “
Chamber
EXEMPLARY QUARTET PLAYING IN MENDO FESTIVAL FT. BRAGG CONCERT
by Terry McNeill
Wednesday, July 21, 2021
Faced with the impossibility of presenting concerts in the iconic large white tent on the bluff, the Mendocino Music Festival opted to use Ft. Bragg’s Cotton Auditorium for ten events in the abbreviated 35th season. San Francisco’s Alexander String Quartet played July 21 to a fully masked audience
Chamber
ECLECTIC PROGRAMMING AT PIANOSONOMA CONCERT IN SCHROEDER HALL
by Pamela Hicks Gailey
Tuesday, July 20, 2021
After a dark year bereft of live performance, pianoSonoma launched July 20 the first Vino & Vibrato concert of the 2021 season in Sonoma State's Schroeder Hall, albeit sadly senza vino due to Covid protocols. Three exceptional musicians showered the audience with an interesting variety of pia
Chamber
RARELY-PLAYED SCHUMANN HIGHLIGHTS HEALDSBURG RECITAL
by Terry McNeill
Saturday, July 10, 2021
Brave New Music sporadically produces concerts in and around Healdsburg, and July 10’s violin recital in downtown St. Paul’s Church must have been one of the first post-lockdown, post-be-extra-careful classical music concerts in Sonoma County's summer season. New Music Founder Gary McLaughlin with
Chamber
ECHOS ON A WARM SUMMER NIGHT
by Abby Wasserman
Saturday, July 10, 2021
ECHO Chamber Orchestra’s first concert in a year and a half, “A Musical Promenade,” was a promenade indeed. When patrons arrived at San Anselmo’s First Presbyterian Church for the 6:00 performance July 10, they were funneled through the garden to the Duncan Hall patio, where folding chairs were set
Chamber
LONG DISTANCE LOVE BEGINS VOM SUMMER FESTIVAL
by Pamela Hicks Gailey
Thursday, June 24, 2021
The Valley of the Moon Music Festival offered a 7th season preview June 24 with a stunning online concert, aptly named Long Distance Love, featuring inspired performances of Beethoven's short song cycle An die ferne Geliebte,, and selections from Brahms’ beloved Liebeslieder Wal
Recital
ROMERO'S ARTISTRY IN SLV RECITAL PROGRAMMING AND PERFORMANCE
by Terry McNeill
Wednesday, June 2, 2021
Gustavo Romero has been an admired visitor to North Bay stages, playing over a decade recitals at Dominican University, the Music at Oakmont concerts and at the Spring Lake Village Concert Series. He returned June 2 to SLV in a virtual recital, videoed from his home concert hall the University of N
RUBICON'S VIRTUAL CONCERT A MALANGE OF CONTRASTS
by Terry McNeill
Sunday, May 16, 2021
The inaugural concert of a new Mendocino County chamber group is a reason for celebration, and the Rubicon Trio made the most of a mixed musical menu during a May16 virtual concert. Presented by the Ukiah Symphony Orchestra as the last in their “Salons with the Symphony” Series, the Rubicon began w
Recital
PIANO VIRTUOSITY IN YAKUSHEV'S REDWOOD ARTS RECITAL
by Nicki Bell
Sunday, May 16, 2021
Russian pianist Ilya Yakushev’s recital for the Redwood Arts Council was perhaps the local season’s virtual music at the greatest distance, as the filming May 16 came from a church in St. Petersburg. And good filming it was, with multiple camera viewpoints of the church, full and split screens and
RECITAL REVIEW

Oakmont's Larry Metzger with Elena Ulyanova at Recital Reception

PIANISTIC DRAMA OVERCOMES SUBTLETY IN OAKMONT RECITAL

by Terry McNeill
Thursday, June 10, 2010

Ukrainian pianist Elena Ulyanova made her Sonoma County debut June 10 in an Oakmont Concert Series recital that was conventional in repertoire but quite agitating in performance. The pieces played were nearly a reprise of her November, 2008 recital in Tiburon’s St. Hilary Church, sans the big Rachmaninoff B-Flat Sonata.

Ms. Ulyanova has a passionate musical personality and her playing in Berger Auditorium before 200 people may not have been to the taste of most piano aficionados. She continuously pushes the envelope for speed and dramatic contrast, reveling in fast scale passages and sforzandos followed by arms flying high off the keyboard. That approach worked best in Beethoven’s F Minor Sonata, Op. 57 (“Appassionata”) where the emotional and dramatic qualities can suit the music, albeit with control. In some ways the reading was similar to the “Appassionata” of Italian pianist Sandro Russo in his April 18 Newman Auditorium recital, in that passion trumped architecture. But where Russo used repose to contrast the difficult articulations problems in the opening Allegro assai Ms. Ulyanova threw caution to the winds, sacrificing clarity to momentum. The Coda was played as fast as I have ever heard it, with anticipatory pedal prior to the three big forte chords announcing the sonic carnage to the end.

The Andante con moto variations had some lovely inner voices, especially in the second “chorale” variation, and was played with considerable dispatch. In the emotional sweep of the finale, introduced by the famous 13 chords that were surprisingly played staccato, the speed bordered on being reckless. But Ms. Ulyanova never quite lost control and the grand design was compelling, the wrong top notes in the right hand at the end not detracting in the least from the drama. It was not a performance to savor, but I found things to admire in the high-pressure reading. The pianist is not averse to taking chances.

Closing the first half was Chopin’s Andante Spianato et Grand Polonaise Brillante, Op. 22. The current norm for this richly vocal work is to play the Andante fast and the Polonaise slowly, the opposite of Hofmann’s legendary recording at his 1937 Golden Jubilee concert in the old Metropolitan Opera House. Ms. Ulyanova chose the common mode, using little rubato and playing without much subtlety. The 16-measure modulatory bridge passage between the two parts was abbreviated to several chords, for an unknown reason. The Polonaise performance had a teasing quality, the scales fast but cloudy with pedal and the lovely short vocal section in the middle too rushed. The three forte left-hand E Flat accents provided pedal point and spice. In sum, it was brash and messy performance, the filigree rapid but routine.

Two Debussy Preludes from Book II, Brouillards and Ondine, began the second half, with the piano becoming increasingly out of tune in the treble. Ondine was particularly good, the restless nature of the scherzo-like changes of mood were effectively portrayed. This wasn’t Debussy with shades of color, but with rhythmic power. Ms. Ulyanova has a flair for Debussy’s complexity but the speed of each Prelude covered any introspection or languorous dalliance.

Rachmaninoff’s “Polka de WR” and the Tarantella from Liszt’s “Venezia e Napoli” concluded the program. The former, played with no interval from the Debussy, lacked charm and was roughly banged. A long ago live Horowitz performance in Carnegie Hall lingered in my mind where the Russian master had the audience hanging on every subtle phrase. The Liszt, resplendent in Ms. Ulyanova's bravura repeated notes and ferocious momentum, was one of the least interesting performances I have heard of the work in a concert hall, missing any semblance of melodic shaping and respite. Extremes of dynamics and rushed tempos don't make convincing Liszt, from any of his compositional periods.

No encore was offered by the artist.