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Symphony
SOLO BRILLIANCE IN SANTA ROSA SYMPHONY CONCERT
by Terry McNeill
Saturday, February 17, 2024
Opera
OPERA GEMS IN COZY SEBASTOPOL THEATER
by Pamela Hicks Gailey
Friday, February 9, 2024
Choral and Vocal
LUSTROUS VOCAL SOUND AT KUZMA'S SCHROEDER RECITAL
by Pamela Hicks Gailey
Sunday, February 4, 2024
Symphony
HAYDEN'S SAXOPHONE CONCERTO AT SO CO PHIL CONCERT
by Ron Teplitz
Sunday, January 28, 2024
Chamber
SPIRITUAL STRING MUSIC IN BLACK OAK ENSEMBLE'S MARIN CONCERT
by Abby Wasserman
Sunday, January 28, 2024
Chamber
VIRTUOSIC HARP RECITAL AT SPRING LAKE VILLAGE SERIES
by Terry McNeill
Wednesday, January 24, 2024
Chamber
EMOTIONAL BLOCH PIECE HIGHLIGHTS PELED'S RAC RECITAL
by Peter Lert
Sunday, January 21, 2024
Chamber
OYSTER TRIO AT THE ROSE SIGNATURE SERIES
by Terry McNeill
Sunday, January 14, 2024
Chamber
CANTABILE CHARMS IN MIXED 222 GALLERY CONCERT
by Terry McNeill
Saturday, January 13, 2024
Choral and Vocal
A GRAND DIVA'S SHIMMERING AND PROVOCATIVE RECITAL IN WEILL HALL
by Pamela Hicks Gailey
Thursday, January 11, 2024
RECITAL REVIEW

Pianist Anton Nel

IMPECCABLE ARTISTIC TASTE IN ANTON NEL SRJC RECITAL

by Terry McNeill
Sunday, October 19, 2014

Reporting on a recital by the Austin-based pianist Anton Nel is a predictably satisfying task. His playing Oct. 19 in SRJCís Newman Auditorium mirrored a recital on the same stage nearly two years ago and showcased a high level of professionalism and artistry.

Beginning with Mozartís D Major "Duport Variations," K. 573, Mr. Nel continued just where he left off in 2012, offering an urbane and witty performance. A cornucopia of small details--just a touch of pedal at phrase endings, pearly scales and a smooth cross-hand technique--provided shape to the various touches the pianist used. In this late set of variations, written two years before his untimely death, Mozart radically changes Duportís theme instead of merely embroidering it. Mr. Nelís performance was flawless.

Five Debussy Preludes from the 12 of Book II came next, beginning with the sharp rhythms of General Levine Ė Eccentric. The pianist emphasized the dynamic extremes, very different from the lyricism of BruyŤres and the scherzo-like mood changes of the insouciant water sprite Ondine.

The imaginative La terrasse des audiences du clair de lune demonstrated Mr. Nelís sovereign control over chordal weighting and subtle thematic underlinings. The concluding Feux díartifice had glittering arpeggios and trills and explosive chords, frenetic when needed to convey a sound of Parisian fireworks. It was the most difficult of the set but seemed to be childís play under Mr. Nelís commanding pianistic control.

Can this artist play at any level below magisterial? Not at this recital. The first halfís concluding A Flat Chopin Ballade was a case study in Romantic pianism of repose and space. Using careful pedaling, he drew a burnished sound from the instrument. Nothing was out of place in this most lyrical of the four great Ballades. Mr. Nel eschewed pianistic heroics and extended ritards. His was a performance of impeccable conception and taste.

This reviewer was unable to hear the sole second half work, Schubertís mighty B Flat Sonata, D. 960, but others reported that it was a transcendent performance.