Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
ECLECTIC PIANISM IN SPRING LAKE VILLAGE VIRTUAL RECITAL
by Terry McNeill
Wednesday, May 5, 2021
During the pandemic The Santa Rosa Symphony’s virtual concerts received their due in performance praise, but another series, Spring Lake Village, more quietly presented monthly virtual concerts to a select local audience. May 5 saw the latest event, produced by impresario Robert Hayden, and feature...
Symphony
SONIC CONTRASTS HIGHLIGHT SANTA ROSA SYMPHONY SPRING PROGRAM
by Terry McNeill
Sunday, April 25, 2021
In a curious mixture of compositions, the Santa Rosa Symphony’s penultimate virtual concert of the season April 25 unfolded in ways both highly satisfying and a bit perplexing. Directed by resident Music Director Francesco Lecce-Chong, the event followed a familiar format – several contemporary wor...
Symphony
ZUILL PLAYS ZWILICH WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, March 28, 2021
The Santa Rosa Symphony took a cautious step toward the return of live music in their March 28 virtual concert by sharing the stage with an actual live soloist rather than an apparition. Star cellist Zuill Bailey was still masked, and his back was toward the equally masked and plexiglassed orchestra...
Chamber
ECLECTIC CELLO PIANO VIRTUAL RECITAL FROM TOMKINS ZIVIAN DUO
by Terry McNeill
Sunday, March 28, 2021
The venerable 41-year Redwood Arts Council Series in Occidental has joined the virtual recital world with low budget but artistically satisfying programs, mostly using videos filmed in the performer’s residences. March 28 saw the Tanya Tomkins-Eric Zivian duo present an eclectic program from their ...
Symphony
SANTA ROSA SYMPHONY HITS THE SWEET SPOT
by Steve Osborn
Sunday, February 28, 2021
Small orchestras can inhabit a sweet spot between chamber ensembles and full orchestras, but how well they hit that spot depends on the composer's orchestration and the players' ability to project. That dependence was on full display in the Santa Rosa Symphony's Feb. 28 concert, which featured three...
Chamber
NOVEL OBOE-HARPSICHORD RECITAL FROM AIKEN DUO IN UKIAH
by Terry McNeill
Sunday, February 21, 2021
Oboe and harpsichord recitals are a rare North Bay event, even in a pandemic environment where a formal hall setting isn’t available. So it was a delight Feb. 21 to experience on the Ukiah Symphony’s website a recital by Symphony oboist Beth Aiken and harpsichordist husband Tom. The Aiken home vis...
Symphony
A HEALTHY MIX OF TRANSCRIPTIONS AND ORIGINALS FROM THE SR SYMPHONY
by Steve Osborn
Sunday, January 24, 2021
Transcriptions and ascending arpeggios were the order of the day on Jan. 24, as the Santa Rosa Symphony performed uplifting works by Bach/Webern, Ellen Taaffe Zwilich, Marianna Martínes and Mozart. The concert video was made in Weill Hall on Jan. 9. The first transcription was Webern’s 1935 renderi...
Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
RECITAL REVIEW
Music Teachers Association of California So Co Branch / Sunday, January 10, 2016
Sophia Sun, piano

Pianist Sophia Sun

SUN'S WARM RECEPTION IN A CHILLY HALL

by Terry McNeill
Sunday, January 10, 2016

Program design for a piano recital is most often a decision to perform a few big sonatas and variations, sometimes by one composer, or a smorgasbord of shorter works. Sophia Sun chose mostly the latter in her local debut recital Jan. 10 before 150 in SRJC’s Newman Auditorium.

Sponsored by the Sonoma County branch of California Music Teachers Association, the hall was sprinkled with piano teachers and students, and Ms. Sun began with the big Bach Chromatic Fantasy and Fugue (S. 903). It was a performance based on finger dexterity rather than architectural strength and baroque warmth, and it was an unsteady start that perhaps was augmented by the hall having no heat. The pianist took too much time to begin the Fugue that allowed a disruptive burst of audience applause.

The afternoon’s only extended work was Beethoven’s E Major Sonata, Op. 109, a glorious three-movement Sonata that demands of the pianist introspection, warm cantabile and no small amount of fantasy. The best playing came in the six variations of the finale that rose to a strong climax before subsiding into a quiet return of the theme. The fugue was labored and left-hand passages too loud for good balance.

Before intermission the “Young Juliet” section of Prokofiev’s Op. 75 “Ten Pieces” was played, the themes generated by the composer’s ballet from 1937. It was jaunty and beguiling pianism with a chaste and tender ending, balancing deftly the sketch-like parts.

Four pieces comprised the second half, with Rachmaninoff’s Elegie in E from 1887 the only rarity. The Liszt Concert Etude in F (La Leggierezza) was first, played at a far too timid tempo (but with one delicious inner voice) that later worked well with the Rachmaninoff. Dropped notes aside, the Elegie lacked the last ounce of restful lyricism that constitute the piece, even in the loud part before the coda.

Schubert’s E Flat Impromptu (Op. 90, No. 3) was the penultimate piece, and Ms. Sun played it well and made the most of the contrasts in the mid section and the seductive finger passages in the outer sections. The artist fashioned a chaste and alluring ending, holding the audience in silence.

The seminal Chopin G Minor Ballade opened with just the right drama, tension and release of tension. Chopin’s four Ballades tell semi-secret stories and this interpretation unfolded with promise until technical problems with messy right-hand octaves and those pesky memory slips intruded. The playing in thematic statements and in repitions could have been slowed down for clarity while still keeping the emotional impact. Drama doesn’t have to be loud and fast to be thrilling.

Throughout the recital Ms. Sun addressed the audience with verbal program notes, and at the end (there was no encore) she spoke of her youthful musical training with what must have been inspirational examples for the many students that cheered her. With the specialized education audience Ms. Sun could have talked less and illustrated at least some of her commentary at the piano, increasing general understanding.

In addition to the hall’s chilly temperature the program was plagued by small production problems, mainly due to the lack of College staff during fall class break : the lack of a microphone that rendered talk from the stage too distant for understanding, not enough programs; stage lighting that didn’t work, and an out-of-tune and poorly voiced house piano. There was little tonal bloom in the instrument that has for years flaunted a beautiful treble.