Besancon. Kursal. 15-ninth-2022. Anton Bruckner (1824-1896): Symphony No. 7. Anima Eterna Bruges, conductor: Pablo Heras-Casado
Kursal. 16-ninth-2022. Georg Friedrich Handel (1685-1759): Israel in Egypt. With: Teresa Zemkova and Helena Hozova, Sopranos; Henriette Good, Viola; Juan Sancho, Tenor; Tomas Schlick and Tadiach Huza, bass. Collegium 1704 and Collegium Vocale 1704, Commander: Václav Luks
Ledoux Theatre. 17-IX-2022: Serguei Rachmaninov (1873-1943): Piano Concerto No. 3. Nikolai Rimsky-Korsakov (1844-1908): Scheherazade. Anna Vinnitskaya, piano. Frankfurt Radio Orchestra, conductor: Alan Altinoglu
Under the sticks of Pablo Heras Casado, Fifthto mea key Luks and Alain Altinoglu, three concerts were held on the occasion of the 2022 edition of the festival.
Pablo Heras Casado re-read Bruckner
Bruckner on period tools! A Spanish chef’s dream comes true with Anima Eterna Brugge, the Belgian battalion founded by Jos van Emersel in 1987. Never B Symphony No. 7 It is a good introduction to the world of the symphonic composer. It is indeed one of Bruckner’s greatest accomplishments, with his accomplishments Allegro Modrato To instant temptation, and what’s more, the height of her inspiration Adagio, a very successful page, composed before and after the death of Syd Bayreuth, played in 1896 at the funeral of Syd Saint Florian (and we know less, in 1945, by what was left of German radio after the disappearance of a dictator who had just set the world on fire ). The shadow cast by Wagner prevails on this page, even the famous reuse Wagnertoben (Wagner Topas) made specifically for the quad in 1876 in Bayreuth. In Besançon, they are four at the heart of a formation of seventy-two. Seven double basses dominate the Corsal Plateau whose ambient acoustics provide plenty of familiarity to the semi-roomed vision of Pablo Heras-Casado. We can’t help but smile at the miserly rhythmic use of the sixty-five minute score, which leaves the drummer generally idle and only offers his assistants a single climax to be highlighted with a single cymbal stroke. Triangle shook! Some optimism characterizes the performance (forced to reset, period machines are required, before Scherzo) which is not without tilt Adagio to me Rohivol subordinate the fourth Mahler or his ultimate about pilgrims’ march FromHarold in Italy. Despite the rebellious trumpet three times, the organic masses of Brucknery’s speech are impressively sealed and the escalation is subtly completed.
Fifthto mea key luke revenge Israel in Egypt
To win back the hearts of Londoners who ended up staying away from his operas, Handel returned to the genre that made him famous. Three new orators in quick succession: Saul, Israel in Egypt, L’Allegro il Pensieroso mondo ed il Moderato. Israel in Egypt It was originally designed in three parts. Handel wanted to reuse the 1737 material for Queen Caroline’s funeral (funeral poem The road to Zion is sad) by adding it to two parts that narrate the fate of the Hebrews under Egyptian control: a real Pharaonic project (its current duration of one hour and three quarters of an hour will then be about two and a half hours into the future). The messiahonly from them Sinfonia The joint opening of both works. unwelcome in 1739, Israel in Egypt It is nevertheless a powerfully inspiring, more choral work of its author, the soloists have only the bare minimum. Fifth Czech leaderto meclav Luks, more and more present in the Baroque world, gives much of his person for two hours, whether he narrates the ten plagues in Egypt fromdisplacement or to express the effects Moses’ anthem. The acoustics of the corsal are so generous (the bassoons, like all lower strings, immediately reveal a captivating darkness) that the sound of the instrument, although in front of me, seems to come from the back of the hall! Timpani limits the immersion of Egyptians in sound waves But the water overcame their enemies. Stunning, the temperature indulges in the great gap between the pathos and the frescoes. Collegium 1704 responds without fail to the multiplicity of intent that its leader envisions, especially when it comes to hitting the crowd (my state-of-the-art at the end of And he struck every firstborn of Egypt). Arranged in the double chorus formation the work demands, the twenty-one singers of the Collegium Vocale 1704 form a gifted instrument (sounds evoke poetry) from which the conductor can draw solid soloists (sometimes also as in Lord is a man of war Slightly lopsided when one side takes the words too literally). Teresa Zemkoffto me shine in the air blown with the wind. Calm Alto Henriette Gödde gradually asserts himself until a You must enter them heartbreaking. Juan Sancho is a rhythmic signifier, a perfect evangelist for this Israel in Egypt That an audience immersed in beautiful music is taking revenge on the injustice of the original welcome.
Alain Altinoglu amplifies the eternal beauty of Russian music
From a program that, unlike the previous two, we expected quite a few surprises, we will have come out with a head full of superlatives.
Directed by the amazing Radio Frankfurt Orchestra that, from start to finish, defies the usual dry acoustics of the Ledoux Theatre. From piccolos to tympanum, from flawless desks (even on trumpets!) specially selected for the purpose (including an orchestral lesson titled Scheherazade) reveals one by one.
Addressed to the pianist whose youth sums up his works Concerto No. 3 by Rachmaninoff (the kind of work in which, after being seduced by its introductory subject, you must abandon yourself if you fail to understand its subject), this “Rough Charge” concerto is, in the words of the author himself, composed by Horowitz. For Anna Vinnitskaya, everything seems to flow naturally. Contrary to Rachmaninov’s explanation to his audience, in 1928, at the end of the triumphant creation of this diabolically talented concerto, that his fingers could not appear once, the Russian pianist, having, without apparent effort, seduced the listeners of his fluid and luminous touch chooses two: April subordinate seasons by Tchaikovsky and study table by Rachmaninoff.
Addressed to the conductor, Alan Altinoglu, smiling and considerate of his brilliant soloist, who, from the first strings of the The sea and Sinbad’s ship, immediately transports the listener to the “Scene of Colors”, which is an indestructible symphonic group by Rimsky-Korsakov. Altinoglu gives time for his first violin/harp dialogue exposing the enchanting character of the timeless stories, to the horn and cello a bit, to the sublime dialogue the bassoon performs with the double seven bassoons from the beginning of the The story of Prince Callender. For some music lovers, the French maestro gives them time to laugh by speaking after a Andantino Displayed with infinite knowledge of detail, he explains, after placing his hand on his hips, that it was only his belt (sic!) that fell at his feet, before he took the reins Allegro Molto Colorful as before, as if nothing had happened: great art. a bee’s journey (very rare tsar sultan) pleads one last time, despite its fleeting brevity, all the offices of an extraordinary orchestra, which has received its first visit to a city that has invited many others with long and legitimate enthusiasm.
Image credits: © Yves Petti
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