Articles in Press
[Noozhawk] Symphony Offers Mellow Alternative for New Year’s Eve
December 29, 2016
Once again, the choice is ours: We can head straight to the nearest traditional New Year's Eve party — traditionally loud, gin-soaked, and frantic — or we can take a more circuitous and leisurely trip toward midnight aboard the Santa Barbara Symphony's annual New Year’s Eve Pops Concert.
Starting at 8:30 p.m., this year as every year, the two-hour program, in the Granada Theatre, 1214 State St., generally finishes around 10:30 p.m. — plenty of time for us to rush out to a wild party and make fools of ourselves.
[Voice Magazine] Piano Night at the Symphony
November 29, 2016
WHAT A TREAT! Two world-class pianists, one of whom is a Santa Barbara resident, an orchestra that has reached a level of professionalism and ensemble cohesion under conductor Nir Kabaretti that confirms with each concert, its standing as one of the best in the region, and a program of works for pianos and orchestra so interesting, the evening flew by. The piano soloists, our own Natasha Kislenko, and German born Markus Groh, whose career spans the globe, worked together as a superbly blended team for Mozart’s Concerto for Two Pianos in E-flat Major, K. 365, and each had opportunity to display their unique pianistic personalities during Manuel de Falla’s Nights in the Gardens of Spain (Kislenko) and Tchaikovsky’s monumental Piano Concerto No. 1 in B-flat Minor, Op. 23 (Groh).
[Independent] S.B. Symphony Performs with Two Pianists
November 23, 2016
Natasha Kislenko and Markus Groh Join Orchestra for Remarkable Performance
The Santa Barbara Symphony gave a remarkable performance at the Granada last Saturday, playing compositions that featured talented pianists Natasha Kislenko and Markus Groh. The first piece, Manuel de Falla’s dreamy Nights in the Gardens of Spain, showcased Kislenko’s elegant touch, evocative of a summer romance in Andalusia.
[Noozhawk] Symphony Puts Pianos Out Front
November 18, 2016
Under the title, "Favorite Piano Masterpieces," the Santa Barbara Symphony, conducted by Maestro Nir Karbaretti, plays its November concerts at 8 p.m. Saturday, Nov. 19, and 3 p.m. Sunday, Nov. 20, both in the Granada Theatre, 1214 State St.
On a slate that features two piano concertos and one quasi, the keyboard soloists will be Markus Groh and local heroine, Natasha Kislenko.
Separately and together, Groh and Kislenko will take the the lead roles (the theatrical term is apt, for once) in Manuel de Falla's "Nights in the Gardens of Spain (1915)"; Wolfgang Mozart's "Concerto No. 10 in Eb-Major for Two Pianos, K.365 (1779)"; and Peter Tchaikovsky's "Piano Concerto No. 1 in bb-minor, Opus 23 (1875)".
[Montecito Journal] The Power of the Piano
November 17, 2016
Nir Kabaretti is a big fan of Tchaikovsky's Piano Concerto #1, calling the famed work "probably the most perfect piano piece imaginable, because it has everything virtuosic, including heroic piano writing, but at the same time is extremely accessible" -- so much so that some of the passages "you can hear on cell phones as ring tones."
"Tchaikovsky captured pretty much everything audiences love: incredibly difficult and fast passages for the pianist, beautiful lines and melodies for the orchestra," said the music director of the Santa Barbara Symphony, which will perform the piece on this weekend's program. "There are extremely romantic and warm phrases combined with breathtaking portions for pianist, where he has to play octaves and even more difficult passages."
[Independent] Santa Barbara Symphony’s Season Opener
October 19, 2016
'Rapture,’ Then ‘Joy’ with Beethoven’s 9th
“Rapture”, a short symphonic composition by contemporary composer Christopher Rouse, followed the orchestra’s rendition of the national anthem signaling that the 2016-17 season had begun. No one took a knee during either work. While Rouse identifies “Rapture” as his most unabashedly tonal composition, there’s nothing polite about it. Like Beethoven’s “Joy”, Rouse’s “Rapture” imagines a universal ecstasy that’s based in humanistic rather than religious sentiment. At a mere 13 minutes in length, “Rapture” is necessarily a ride on the ecstasy express, arriving at its destination flushed with the thrill of its own continuous acceleration.