The venerable Yuri Temirkanov and the blessed Mariella Devia (we are now to keep as relics such men and women of music ...) have delighted listeners for this concert of symphony season of La Scala theater.
The season Symphony Theatre (5 licenses for 15 concerts in 2010-2011) should not be confused with the season of the Filarmonica della Scala (in 2011: 12 concerts in Scala and 12 off-site) even if it happens that some concerts the two seasons have similar content (and the same actors). Both seasons are also covered by the performance of 'La Scala Philharmonic Association, founded in 1983 by an idea of \u200b\u200b Abbado and imitation of the Wiener . It would be interesting to do a thorough comparison between the experience (160ennale!) of the Vienna and the (28ennale) La Scala Philharmonic: I personally feel that the model - like many Italian things done - on time problems have been copied, but without the consequent benefits.
But we come to the concert yesterday. Program throughout the twentieth-century, but ... diatonic , toh (just out of spite to Alex Ross, smile!)
Les Illuminations of is Britten, 1939 . Written for soprano (he was dedicated to Sophie Wyss, soprano Swiss who was the first interpreter), however, is also entered in the register of the levels (first of all to interpret the Britten's lifelong companion, Peter Pears ). These numbers 10, whose texts are taken from 8 of 54 (or 46, 44, 43, 42, according to several critical editions) poems titled Illuminations (English!) of Arthur Rimbaud . Britten added the initial Fanfare and Interlude consisting of a single verse, taken from Parade. (Here - 1. 2. 3. - an interpretation of Aikin with Marriner and the Bavarian radio.)
Sunday evening, the concert had been irradiated by Radio3, and after this passage, some criticisms were leveled against the French pronunciation of Devia. Frankly, I parse are specious in the face of a truly remarkable performance. If anything, I would - just to find the hairs - to judge too graceful and a little wild the approach taken by Mariella good, especially in Villes and Parade. Mariella has however shown that - but there was not need - like a great professional can do well even when it goes away - and a lot! - From his traditional repertoire.
Part with Quarta di Mahler .
Temirkanov mostra un buon rispetto per la partitura, l'unico piccolo neo che mi permetto di segnalare è che lui pare tenere in poco conto le virgole (o gli apostrofi , insomma quei segni di piccola pausa di respiro che Mahler mette spesso all'interno delle sue frasi musicali). Per il resto, il maestro russo mette bene in risalto anche i minimi particolari, come questo, che ci mostra la chiara ascendenza straussiana del primo tema della sinfonia:
The theme, in its main hall down to the tonic and dominant by . But just before the final cadence of the recapitulation appears, as recorded, nell'oboe, a variant, where the tonic falls on dominant, just as in love- theme of Don Juan (by chance, too ' nell'oboe it and in the same key!) This is also a small but important sign of the mutual influence between the two main protagonists of the Central European musical culture of the time.
In general, the old Circassian director who moved to St. Petersburg - not always stick, ma con partitura sul leggìo, e attentamente seguita - ha tenuto un approccio soft , quasi sempre cameristico, come giusto che sia, mettendo bene in risalto la cantabilità dei temi (splendido in ciò il Ruhevoll ). Un appunto, ma di natura logistica , che mi sento di avanzare è l'aver fatto entrare la Devia a Lied già attaccato: oltre che elemento di distrazione per il pubblico, credo non abbia giovato alla concentrazione del soprano, costretta ad arrivare al proscenio e quasi subito mettersi a cantare; cosa che peraltro ha fatto benissimo, a parte una difficoltà a farsi udire sul SI sotto il rigo del Tod , a metà della seconda verse.
always exciting the closed, with the talented Luisa Prandina to exhale on the grave of basses MI, MI serious harp. educated public, who observed a moment of silence, before releasing the well-deserved applause.
organizational One last detail: it would be so difficult or expensive to employ the dividing screens provided to present the texts of what is sung, how do you work for? Avoiding viewers to browse the theater program (perhaps by using mobile phones as lampshade ...)?
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