{"id":46966,"date":"2013-01-25T01:03:22","date_gmt":"2013-01-24T23:03:22","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=46966"},"modified":"2017-06-26T12:25:37","modified_gmt":"2017-06-26T10:25:37","slug":"federico-mondelci-charms","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/federico-mondelci-charms\/","title":{"rendered":"Verona, Teatro Filarmonico: Federico Mondelci Charms"},"content":{"rendered":"

Verona, Teatro Filarmonico, Stagione Sinfonica 2012\/2013
\n<\/em>Orchestra dell’Arena di Verona
\n<\/strong>Direttore Paul Chiang
\n<\/strong>Sax Federico Mondelci
\n<\/strong>Carlo Boccadoro<\/em>: Invisible Acropolis
\nClaude Debussy<\/em>: Rapsodia per sax alto e orchestra
\nRoberto Molinelli<\/em>: Four Pictures from New York
\nP\u00ebtr Il’i\u010d \u010cajkovskij<\/em>: Sinfonia n. 4 in fa minore op. 36
\nVerona, 19 gennaio 2013<\/em>
\nIn the first part of the 6th concert o<\/strong>n 19th<\/sup> January (repeated on 20th<\/sup>),\u00a0 in its series of symphonic concerts, the Fondazione Arena di Verona, presented an interesting choice of programme and soloist in keeping with its policy of proposing innovative and interesting new works.
\nThe evening began with Invisible Acropolis, <\/em>composed by Carlo Boccadoro<\/strong> in 2011-2012, and premiered in Florence by the Maggio Musicale Orchestra in 2012. Even without the explanatory programme notes describing the piece and its genesis, the \u00a0artful use of\u00a0\u00a0 orchestration to evoke\u00a0 shifting moods and impressions, the weaving of individual sections and instruments in and out of the shimmering orchestral fabric, the rising progressions of dynamics and\u00a0 the fluctuating overlapping of instruments, the sudden withdrawal of the full orchestral forces leaving a string quintet to converse in an anguished dialogue, before a flute and cor anglais intervene and the orchestra gradually disappears leaving the dreaded beat of an ominous bass-drum, all create a musical and\u00a0 aesthetic design capable of enticing and involving the listener. The impact of the composer\u2019s visit to the Birkenau concentration camp, which he cites as his inspiration,\u00a0 struck by the \u00a0contrast of its present desolation with the ethereal presence \u00a0of the ghosts of \u00a0former inmates, \u00a0noises and\u00a0 buildings, is faithfully and movingly portrayed in the score.
\nThe second piece on the programme, Rapsodie our orchestre et saxophone<\/em> commissiond by an American saxophonist, was composed reluctantly by Claude Debussy<\/strong>, who it seems felt uncomfortable with this \u2018modern\u2019 instrument. The orchestration was finally completed a year after his death by Roger-Ducasse. Notwithstanding his diffidence for the instrument, Debussy succeeded in creating a refined work in an abstract, impressionistic style, reminiscent at times of the tone poem La Mer<\/em> on which he was working in this period. However he seems much less interested in the virtuoso possibilities of this \u2018new\u2019 instrument, favouring, rather, the exploration its own peculiar timbre and character. A very full orchestral score is employed, including 3 flutes, 2 oboes, a cor anglais, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets 3 trombones anda tuba, often in waves of sound on the crest of which the saxophone rides. Composed of one movement , as the title suggests it changes mood\u00a0 rapidly, starting off slowly, including liesurely cadenzas for the soloist in a sort of suspended atmosphere, and moving quickly to a faster section characterized by Debussy\u2019s penchant for exoticisms. There are definite Arab influences, especially in the rhythmic accompanying figures. Federico Mondelci<\/strong> was a suberb interpreter of the piece. Technically relaxed and at ease, \u00a0completely absorbed in the music, his sound free and focused, soared evenly from a shining, burnished\u00a0 top, to a rounded mellow bottom. His strong powerful sound penetrated even over a full orchestra and never resulted\u00a0 pushed or forced.
\nThe following work, Four Pieces from New York, <\/em>composed in 2001 by Roberto Molinelli,<\/strong> was a perfect vehicle to display Mondelci\u2019s versality and musicality and confirmed his mastery of timbric and technical control on soprano, tenor and contralto sax in turn. \u00a0Four musical scenes which follow a precise description in the score, Dreamy Dawn, Tango Club, Sentimental Evening and Broadway Night<\/em>, are a conscious, eclectic hommage to popular American music from jazz to swing,to films and blues familiar and accessible without neglecting originality and expressivity. Mondelci took full advantage of the multi-faceted show-piece Molinelli had provided him with. \u00a0Moving into the midst of the orchestra to join the jazz trio as if in a jam session in Sentimental evening<\/em>, (an eccellent piano, bass and drums from the orchestra,) or dominating the downstage centre in the rhythmic,syncopated Tango Club<\/em>, or sweetly singing with graceful cantability in Dreamy Dawn<\/em>, Mondelci \u00a0played effortlessly with colours, timbres and styles, displaying\u00a0 great musical sensibility and rigour.\u00a0 Repeated enthusiastic curtain calls led to a repeat of the Tango Club<\/em> as an encore.
\nThe second half of the programme<\/strong> returned to a more traditional concert repertoire with Tchaikovsky\u2019s 4th<\/sup> Symphony.<\/strong> \u00a0Off to a rather shaky start, the symphony was marred by frequent uncertainties of intonation and articulation, and generally lacked \u00a0cohension. \u00a0At one point the cellos and first violins were not syncronized. \u00a0The first movement, in particular, remained flat and earth-bound, perhaps due to the particularly slow tempo and the dove-tailing of the winds was disconnected and lacking in direction throughout the symphony. By the fourth movement the orchestra seemed to have found the right gear, but overall, with the exception of the compact and precise trombone section, the performance was not up to the level of their recent concerts. \u00a0The conductor Paul Chiang<\/strong> from Taiwan didn\u2019t seem to have a tight enough rein over the orchestra in the symphony, although in the first half of the concert he succeeded in highlighting with sensitivity the intrinsic voices in Boccadoro and the atmospheric moods in Debussy, and maintained a fluid line and a perfectly calibrated equilibrium between the soloist and the orchestra in both Molinelli and Debussy. Photo Ennevi
\n<\/em><\/p>\n

 <\/p>\n


\n<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Verona, Teatro Filarmonico, Stagione Sinfonica 2012\/2013 Orchestra dell’Arena di Verona Direttore Paul Chiang Sax Federico Mondelci Carlo Boccadoro: […]<\/p>\n","protected":false},"author":105,"featured_media":46956,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[3064,6293,6545,6996,2290,7038],"class_list":["post-46966","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-claude-debussy","tag-federico-mondelci","tag-orchestra-dellarena-di-verona","tag-paul-chiang","tag-petr-ilic-cajkovskij","tag-roberto-molinelli"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/46966","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/users\/105"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=46966"}],"version-history":[{"count":0,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/46966\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/46956"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=46966"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=46966"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=46966"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}