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August 9, 2014

by Jeannette Fang

Maiori - Palazza Mezzacapo

July 24, 2014


Usually when I hear “piano duo concert” I think of this:

It’s generally not a bad idea to keep to having only one pianist on the stage.  Except for…

The Festival Duo! 

Vigilantes against stereotypes, the festival darlings of Jim Giles and Yoshikazu Nagai strode calmly to their pianos, perfunctorily bowing and launching immediately into a perfectly coordinated Lutoslawski wi...

August 1, 2014

Shots from the Young Artist's Series no.3 and the Liszt Mini-Festival

(The only time you'll see the words "mini" and "liszt" in the same line"

recaps to follow










July 27, 2014

by Jeannette Fang

Hotel Reginna

July 21, 2014

Yoshikazu Nagai likes to listen.  He poses a question to you and then waits with slightly unnerving calm as you fumble, because the questions he asks are not ones that really have a right answer.  They are ones that ask for your interpretation, opinion, and feelings.   

In Tuesday’s masterclass, he made it a point to begin each commentary with a direct question to the st...

July 12, 2013

by Kyoo Hye Lim


Yoshikazu Nagai, professor of San Francisco Conservatory, began the masterclass, instantly infusing the Reginna Auditorium with his friendly down-to-earth character to set up the highly communicative atmosphere.

The first piece was Haydn Sonata in B minor, Hob.XVI:32, performed by Rebecca Wuu, who displayed a mature interpretation and musical ideas. Nagai worked on details with Wuu to make the sound more refin...

July 9, 2013

by Jeannette Fang

This was the perfect venue for Liszt, and especially for the program chosen.  The dark, almost gothic décor, mixed with the opulence and rather bloody coloring, connoted the sort of mystery one might imagine in depicting the afterworld.  The virtuosity of the architecture paralleled the brilliant pyrotechnics of the Horowitz-ed Hungarian Rhapsody, its height was reflected by the tinkling register of La Campane...

July 7, 2013

by Jeannette Fang


With an unassuming serenity, Daniel Shapiro bows at the piano with an endearingly wry smile, not at all preparing us for the roaring blasts of his opening octaves.  His whole body heaving into the piano, Shapiro embraces the majesty of the Schubert’s Impromptu Op.90 no.1, allowing the reverberations to pulse away, the smoke falling to reveal the heartfelt murmur of the theme.  And this whole-hearted dedicatio...

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