|
 |
Carnegie
Hall Debut Review
New York
Concert Review, Inc. Inna Zaleschikova
Gilmore, flute Artists International, in honor of its 35th Anniversary Season, presented the talented Russian flutist Inna Zaleschikova Gilmore in recital at Carnegie's Weill Recital Hall on January 12th. Although a native of Russia, she has acclimated herself to the U.S. and other countries via her extensive performances and prizes in competitions. She has surrounded herself with the best teachers, including Paula Robison and Jeffrey Khaner, and it shows in her playing. She has technically fleet fingers, she phrases with a knowledge of the composer and the structure of the work she plays, she has an excellent sense of pitch and rhythm, and her breath control is solid. The main thing that sets her apart from Khaner and Robison is her sound, which is more elegant than robust. In an intimate hall like Weill Recital Hall, her sound is a good fit. She opened her program with Howard Hanson's delightful—albeit conservative—Serenade, Op. 35. Sometimes a composer "makes the artist". In this case, the artist "made the piece". In other words, she brought this work to life, giving it engrossing performance. |
|
 |
In Otar Taktakishvili's Sonata for Flute and Piano, she pulled off all technical stops with bravura. The Allegro Scherzando is still ringing pleasantly in my head; she reminded me what a great piece this is. Ensemble work was excellent, as pianist Elizaveta Kopelman was musically solid and alert at every turn. Balances were fine, with clear give-and-take of the musical line. Frank Martin's Ballade was also a good program choice, and it was played with polish. Eugene Bozza
and Vladimir Tsibin are not composers that pop to mind when naming
the most popular composers on woodwind recitals, but Ms. Zaleschikova
Gilmore made the case that these particular works, Bozza's "Agrestide",
Op. 44, and Tsibin's Concerto Allegro No. 2 and Concert Etude No.
10, deserve to be mainstays that can end programs. Her staccatissimo
double-tongued passages were immaculately precise, and she was always
engaging—whether she was playing rapidly or liltingly. The
momentum never decreased, and the audience didn't decrease either,
as they stayed and begged for more. New
York Concert Review, Inc. |
©2008 Inna Gilmore