Piano on the Rocks: A Journey ‘From Paris to Sedona’ that Captivates Audiences

Every spring, the Piano on the Rocks festival captivates audiences, with this year’s event held at Verde Valley School from April 25 to 27. Celebrating its 10th anniversary, the festival embraced the theme “From Paris to Sedona.”

Day One

Festival founder Sandrine Erdely-Sayo opened with her composition “Hymn to Sedona,” joined by vocalists soprano Barbara di Toro, mezzo-soprano Sonja Bruzauskas, and tenor Andersen Bloomberg. The performance blended whispered lyrics with a mid-range melody, reflecting Sedona’s enigmatic character. Erdely-Sayo’s student, Madeline Hehn, accompanied Bruzauskas in Maurice Ravel’s “L’enigme eternelle,” showcasing Ravel’s intense emotional range.

Highlights of the first day included Erdely-Sayo’s humorous take on Camille Saint-Saens’ “Danse Macabre,” where she displayed remarkable skill on the piano. She later paired with Cynthia Raim for Aaron Copland’s “Danza de Jalisco,” evoking an energetic atmosphere that invited audience participation. In stark contrast, Raim’s solo performance of Ravel’s “Sonatine” was a contemplative journey, shifting through contrasting moods and rich textures.

The duo of Erdely-Sayo and returning pianist Jean-Marc Luisada collaborated on Gabriel Faure’s “Dolly Suite,” producing playful harmonies that delighted attendees. Luisada’s extraordinary interpretation of Franz Liszt’s “Nuages gris” and “Unstern! Sinistre, disastro” stood out, demonstrating a unique sound that challenged listeners with its complexity.

Day Two

Day two welcomed familiar favorites, with Erdely-Sayo performing works by Jules Massenet and Liszt. Raim revisited Ravel’s “Le Tombeau de Couperin,” blending energy with elegance. Meanwhile, Erdely-Sayo and Hehn supported Di Toro in resonant renditions of Cole Porter’s “I Love Paris” and Piaf’s “La Vie en Rose,” captivating the audience with emotional depth.

Solos by Hehn included Beethoven’s Piano Sonata No. 15 and Casadesus’ final movement, showcasing contrasting styles and emotive power. Luisada’s performance of Haydn’s Variations in F Minor presented a clean yet intellectually stimulating exploration, ultimately encapsulating his playful spirit.

Day Three

The festival’s final day featured a rich array of American compositions. Navajo composer Connor Chee presented works that resonated with the audience, while Erdely-Sayo’s performance of Anna Rubin’s “Strata of Silk and Rocks” captured the atmospheric dissonance of the high desert.

The collaboration between Raim and Erdely-Sayo on Copland’s “Billy the Kid” combined playful energy with a sense of playful rivalry. Hehn and Bruzauskas delivered a lively performance of “Don’t Tell Mama,” highlighting both vocal talent and theatricality. Erdely-Sayo’s interpretation of Franck’s “Prelude, Choral and Fugue” was a mesmerizing experience, showcasing her technical agility.

Further performances included Luisada’s stirring renditions of Brahms’ “Intermezzo” and Chopin’s Op. 49 Fantasy in F Minor, both of which captivated the audience with their dynamic contrasts. The festival reached its apex with Erdely-Sayo and Luisada’s rendition of Brahms’ “St. Anthony Variations,” a masterclass in blending musical themes, ultimately presenting a powerful and emotive conclusion.

Piano on the Rocks is set to return for its 11th season next April, with more exciting programs planned for Sedona throughout the year.

Pianist Jean-Marc Luisada performs during the 10th annual Piano on the Rocks festival at Verde Valley School on Friday, April 25. Photo by David Jolkovski/Larson Newspapers.