VISITS FROM RACHMANINOFF? As the pianist Jean-Yves Thibaudet—backed by the Russian National Orchestra—was just beginning his opening night performance of Piano Concerto No. 5 in F Major, Op.103, the “Egyptian,” he suddenly stopped. Despite being tuned and tested, one of the ivory keys of the piano refused to play. The conductor, Carlo Montanaro, brought the orchestra to a halt as well. After an announcement of a brief intermission, Tatiana Copeland took the microphone to provide a possible explanation. “Do not blame Lincoln Theater,” she said, smiling. “Do not blame management. It’s my uncle’s fault—there’s a curse!” Tatiana is the grand-niece of Russian composer Sergei Rachmaninoff, composer of the “Egyptian.” “This orchestra was playing Rachmaninoff three years ago,” Copeland went on. “The light board started failing and one stage light went out, the second light, the third, this whole stage! They kept playing as the stage got darker and darker. “Now its possible to play by heart,” she explained, “but it started getting very gloomy, until there was one light left on the whole stage—and they had to stop. The performance stopped, period. It was Rachmaninoff who caused it! “So, Uncle, please: come on!” During the intermission, Thibaudet graciously agreed to play another, smaller piano the ever-prepared festival had on hand, and we welcomed him back to the stage with a muchdeserved standing ovation. A Rachmaninoff curse indeed. There were two other instances of a presence of some kind later in the week. During a performance including Rachmaninoff played at Weill Hall, I noticed one violinist had stopped mid-song as his bow simply came loose. Also, more eerily, at the Dance Gala, the show seemed to be going off flawlessly until the Suite from Paganini, another score of Rachmaninoff’s, was underway. In the ballet, famous violinist Paganini struggles at first and is unable to compose. Soon the “Divine Spirits” prove muses for Paganini. His heart rejoices as he picks up his violin and begins a solo dance with it—yet in this performance the crowd could hardly see this dance, as the dancer’s spotlight suddenly stopped working. Another true professional, Damir Emric of Ballet San Jose never skipped a beat. The show continued and soon, as if by magic, the light started working again. The Festival Visits Sonoma The performance at Weill Hall at Sonoma State University featured the Russian National Orchestra, pianist Jean-Yves Thibaudet and violinist Sarah Chang. Thibaudet once again put on an outstanding, energetic show. In a bold choice, Chang played Concerto for Violin and Orchestra, Op.14 by Samuel Barber, one of the greatest composers of the 20th Century. She shimmered with each sway throughout her electrifying performance. Philanthropy The crowd was dressed to the nines for the white Great Gatsby-inspired Festival Gala at Meadowood Resort. The mood was set for this jazzy evening by music from Concord Jazz All- Stars, vocalist Monica Mancini, and Julio and Carlos Reyes playing classical guitars. Attendees rose to the occasion to fulfill requests for trumpets, violins, a bass and sheet music for our local arts programs. With the encouragement of auctioneer Fritz Hatton, guests gladly raised a record $450,000 for our local arts programs such as Artful Learning at Napa’s Salvador Elementary School, Bouchaine Young Artist Series, Napa Valley Youth Symphony and other charities. The Taste of Napa event featured delectable bites from local artisanal food purveyors and fabulous wine. Feast It Forward’s PhilanthroPlate silent and live auction also concluded at Taste of Napa, raising money for our local middle and high school arts programs. Festival Finale The Opera Gala featured the Russian National Orchestra, pianist Vadym Kholodenko, mezzo-soprano Kelley O’Connor, and bass Raymond Aceto. O’Connor’s rich voice was most spectacularly featured while performing Mozart’s “Voi che sapete” from Nozze di Figaro. Her clear, precise control of notes bordered on ethereal. Aceto put on a grand performance embellishing the emotion of his lyrics with facial expressions so vivid they transcended the language. His performance was so rousing that towards the end of the show during his last aria, “Toreador’s Song” from Carmen, the eager-to-accolade crowd began to applaud during a cadenza – at which point the light-hearted conductor had to turn to conduct the crowd. He smiled, waved his baton disapprovingly as if to say “Ah, ah, not yet!” smiled again, then turned back to the orchestra to finish up. Photo by David Wakley The Gala at Meadowood The Green Music Center at Sonoma State University Opening Night at the Performing Arts Center at Lincoln Theater Festival Del Sole 2014 will be held July 11-20. Tickets for next year’s festival can be purchased now through www.festivaldelsole.org NOV E M B E R / D E C E M B E R 2 0 1 3 57
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