{"id":58453,"date":"2013-09-19T15:08:51","date_gmt":"2013-09-19T13:08:51","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=58453"},"modified":"2016-11-26T22:07:41","modified_gmt":"2016-11-26T21:07:41","slug":"verona-prague-philharmonia","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/verona-prague-philharmonia\/","title":{"rendered":"Verona, Teatro Filarmonico, il Settembre dell’Accademia 2013: Prague Philharmonia"},"content":{"rendered":"

Verona. Teatro Filarmonico. Il Settembre dell’Accademia\u00a0 XXII Concert Series. 2013\u00a0\u00a0 <\/em>
\nPrague Philharmonia <\/strong>
\nConductor Ji\u0159\u00ed B\u011blohl\u00e1vek <\/strong>
\nSoprano Annalena Person <\/strong>
\nRichard Wagner : <\/em>Wotan’s Farewell and the Magic Fire Music(Die Walk\u00fcre<\/em>); Siegfried’s Funeral March (Die G\u00f6tterd\u00e4mmerung<\/em>);\u00a0 Prelude and Death of Isolde (Tristan und Isolde<\/em>).
\nLudwig van Beethoven: <\/em>Symphony N\u00b07 op.92
\nVerona. 14th<\/sup> September, 2013<\/em><\/p>\n

The youthful and relatively recently founded Prague Philharmonia<\/strong> was the guest of the third concert in the Settembre dell’Accademia concert series\u00a0 dedicated to visiting orchestras. The internationally established and esteemed orchestra, in this occasion, was conducted by its founder\u00a0 Ji\u0159\u00ed B\u011blohl\u00e1vek.<\/strong>\u00a0 Prague, with its antique and glorious musical traditions lies within the cultural sphere of both Beethoven and Wagner, the two composers represented in the concert.\u00a0 Although the Prague Philarmonie is a small sized orchestra, in the tradition of the Viennese orchestra of the classical period,\u00a0 this didn’t prevent them from honouring Wagner in the year of the bicentenary of his birth.\u00a0 For even in Wagner’s day, reductions of his works\u00a0 were known to circulate and it is said that arrangements for small forces, the famous Coburg versions, so named after the place of their presumed first performance, were allegedly authorized by him.\u00a0\u00a0 However, it must be admitted that the resulting sonority is consequently less dense. In the first half of the concert the\u00a0 orchestral excerpts offered were three of the most moving and emblematic of Wagner’s works;the stately gravity of Wotan’s farewell, the scintillating flickering of the Magic Fire Music, the tragic\u00a0 breadth of Siegfried’s Funeral Music w<\/strong>oven with an eloquent eulogy of\u00a0 leitmotivs, and the yearning of the prelude and the rapturous ecstasy of\u00a0 the “Liebestod” from Tristan und Isolde<\/em>.\u00a0 The conductor was not given to grandiloquence nor facile theatrics, but held the thread of the multiple voices and dynamics lucidly and with calm control.\u00a0 His secure gesture was both expressive and incisive, illuminating the hidden leitmotivs and overlapping phrases, while spinning out the grand over-arching musical lines. The orchestra responded sensitively to his guidance. If the wind section wasn’t always perfectly accurate or well modulated, the string section absolutely shone. Precise and brilliant in the technical passages, compact and warm in the deep and rich sustained melodies and motives.\u00a0 In the Liebestod, the soprano Annalena Person<\/strong> gave an admirable performance, passing seamlessly between registers, but tending to privilege a declamatory style over a more\u00a0 linear and sustained soaring vocal line.
\nIn the second half of the programme, and with further reduced forces, the orchestra came into its own, with a beautiful performance of Beethoven’s 7th<\/sup> Symphony.<\/strong> The finesse of the phrasing, the homogeneity,\u00a0 lustre and vibrancy of the string sound, and the energy and vigour in the rhythmic and technical passages contributed to make it an effulgent execution led with assurance and elegance by\u00a0 the conductor.\u00a0 From the beginning, the transition from the majestic opening poco sostenuto with its long, taut ascending scales, to the dancing and pulsating vivace, the orchestra immediately demonstrated their capacity for delicacy and levity of style. The\u00a0 buoyancy they maintained in the following dotted rhythms, the attention to articulation, their whirling in the third movement minuet and\u00a0 expansiveness in the trio,\u00a0\u00a0 the joyous, accented and dynamic last movement\u00a0 and the progressive blossoming of the splendid allegretto from its initial ostinato were all elements of\u00a0 accomplished ensemble playing. A work with a particular connection to Prague, the capital of Bohemia.\u00a0 It was composed it\u00a0 between 1811 and 1812 while Beethoven was improving his health in the Bohemian spa town of Teplice! Principal Photo Brenzoni<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Verona. Teatro Filarmonico. Il Settembre dell’Accademia\u00a0 XXII Concert Series. 2013\u00a0\u00a0 Prague Philharmonia Conductor Ji\u0159\u00ed B\u011blohl\u00e1vek Soprano Annalena Person […]<\/p>\n","protected":false},"author":105,"featured_media":58350,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[14678,9354,8497,3645,8496,173],"class_list":["post-58453","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-concerti","tag-foreign-readers","tag-jiri-belohlavek","tag-ludwig-van-beethoven","tag-prague-philharmonie","tag-richard-wagner"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/58453","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=58453"}],"version-history":[{"count":1,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/58453\/revisions"}],"predecessor-version":[{"id":86955,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/58453\/revisions\/86955"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/58350"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=58453"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=58453"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=58453"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}