REVIEW: The Charles Vanda Master Series present Anthony Molinaro

Review-Journal

     By Julia Osborne
     Review-Journal
      Pianist Anthony Molinaro readily admits that he often draws inspiration from the audience for the impromptu portions of his concerts.
      Wednesday night, it was from the person snoring in the third row.
      When it was time for the second selection, an unrehearsed blend of classical and jazz music created on the spot, Molinaro knew one thing: it had to be loud to drown out the sounds he could hear onstage.
      He quickly found out that it had to have a rapid tempo as well, since at a slower pace, the individual was breathing right in time.
      Molinaro adapted to the situation and the result -- and the rest of the evening -- was bold and inventive, with indications of a potentially great future for this talented 25-year-old.
      Molinaro was the co-winner of the 1997 Walter W. Naumburg Piano Competition, held at Lincoln Center in New York City. He has also received the National Piano Fellowship Award from the American Pianists Association and first place in the 1995 William C. Byrd international piano competition.
      From Chicago, he began playing at age 4. He received his undergraduate degree from the University of North Texas and his master's from Northwestern University. He has played concerts throughout the country.
      With his shaved head and one stud earring, he doesn't necessarily look the part of a piano impresario. Dressed in black, he fairly loped onto stage and sat at the piano without fanfare.
      For his opening selection, he offered "Three Songs" by Schubert and Liszt, including two that were originally written for voice and transcribed for piano.
      The first set a comfortable if deceiving tone for the evening. Melodic and almost pastoral with its easy point/counterpoint of echoing passages, listeners might have decided that Molinaro was certainly skilled but not particularly intense.
      The next selection banished those thoughts, with its spirited, vigorous movement and dark, adamant refrains. He executed the closing note of its lyric conclusion with a few fingers of his right hand, pinkie extended skyward.
      The final section, which seemed the most challenging, had a tone of brooding force and included quick, cascading sections. It called for Molinaro to attack the keys, which he did with aplomb, before a somewhat anticlimactic ending.
      Speaking without a microphone, Molinaro next discussed the second selection, a piece of his own titled "Yes, I Want to Write a Fugue." He explained that he identifies with the type of music typically characterized as fugues, selections which are lively with high energy and almost spiritual qualities.
      The 20-minute selection was improvised on the spot, with vigorously intense, demanding -- and, obviously, well-rehearsed -- classically inspired sections mixed with some shadowy jazz. If there had been jazz music during, say, the Spanish Inquisition, this would have been it.
      Sometimes he hunched over the keyboard with deep intensity; other times he sat upright, almost leaning back, eyes closed. Given the bold nature of this offering and despite the one individual in front, it's safe to say there weren't many nappers in the audience.
      After intermission, Molinaro returned with Bach's "Goldberg Variations," which he characterized as the "single greatest piece " for piano. The 25-minute composition was easy to like, with lovely, resonant passages and no tonal surprises. Molinaro offered its challenging overhand passages matter-of-factly, showing the technique that has garnered his awards. At some points, he was so skilled and intense it sounded as if there were four hands on the keyboard instead of just two. The conclusion brought a few "oohs" and "aahs" from the audience.
      He returned with two encores, the third movement from Prokofieff's "Sonata No. 7" and an untitled selection by Keith Varrett. Each was brief, bright and in keeping with the rest of the evening's selections.
      There is no doubt that his playing deserves a top rating. However, it should be offered with an asterisk. Occasionally it seemed as if he were following the philosophy "intense is best" -- and that's not always so. Additionally, he needs to realize that it is audience's response, and not just artist's whim, that dictates the number of encores. Though this audience was certainly appreciative, the response to the first encore did not justify the second. It was nice. It just wasn't necessary.
     
     Who: The Charles Vanda Master Series present Anthony Molinaro
     When: Wednesday
     Where: Artemus W. Ham Hall, University of Nevada Las Vegas, 4505 Maryland Parkway.
     Attendance: 700
     Rating: HHHH