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New York Concert Artists & Associates Presents Viviana Lasaracina at Weill Recital Hall

By Dr. Roberta E. Zlokower, Roberta on the Arts
Posted: March 5, 2014
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Program:
Clara Wieck-Schumann (1819-1896): 3 Romances, Op. 21.
Robert Schumann (1810-1856): 8 Fantasiestücke, Op. 12.
Alexander Scriabin (1872-1915): 2 Poèmes, Op. 32.
Sergei Rachmaninoff (1873-1943): 6 Moments Musicaux, Op. 16.

Tonight’s piano recital at Weill Hall, packed upstairs and down, was a special event for Viviana Lasaracina, winner of the Carnegie Debut Recital Competition of New York Concert Artists & Associates. The entire evening was one of impressive piano performance, with Ms. Lasaracina poised to make waves in the national and international concert halls. This youthful artist has won competitions in her native Italy, connected with Torneo Internazionale della Musica and Premio Venezia, as well as fellowships, connected with Sarx Records in Milan and Yamaha Music Foundation of Europe. Her Milan debut was in 2006, and since then Ms. Lasaracina has appeared throughout Europe in recitals in Paris, Spain, Austria, and Germany. She graduated from Nino Rota Conservatory and participates in master classes.

For tonight’s recital, Ms. Lasaracina chose an unusually challenging program of four works, each with two to eight “Romances”, “Pieces”, “Poèmes”, or “Moments”. The first of the Clara Schumann 3 Romances was performed with sumptuous tones, in an unhurried manner. Ms. Lasaracina’s phrasing exuded melancholy and yearning. The second Romance was played with staccato, giocoso phrasing, a brief, lovely theme. The third was evocative of Chopin, with rapid trills and mature performance technique. The first of the Robert Schumann 8 Fantasiestücke was balletic, with rhythmic tempos, elegant and poignant. The next was stormy, conflicted in mood, played with nuance and confidence. The third was of understated, romantic quietude, with the next played with profoundly increasing volume and speed. The fifth Romance was sparkling and luminous, with intermittent pauses. The next had swirling, dervish imagery, with the seventh opening like windy raindrops. It spun on the keyboard with momentum. The final Romance had inherent regal chords with powerful, percussive tones.

The first of the Scriabin 2 Poèmes was esoteric, contemporary in motif, melodic, ripe for a ballad. The second was opposite in mood, foreboding and resounding. The first of the Rachmaninoff 6 Moments Musicaux, Andantino, was heartrending, mournful, with gorgeous, tonal waterfalls building into rippling waves across the keys. The theme repeated with echoing phrases. The next Moment, Allegretto, was almost filmatic, moving up the scale, while the third, Andante cantabile, was rapturous and fervent. The fourth, Presto, was vibrant, with Ms. Lasaracina attacking the keys with determination and flourish. The next, Adagio Sostenuto, was lyrical, like a song, with deep repetitive chords. The final Moment, Maestoso, was stirring and tempestuous. Ms. Lasaracina’s encore, un-announced, was equally as challenging as the evening’s repertoire. Kudos to Viviana Lasaracina for a spellbinding Debut Recital at Weill Hall.