{"id":66773,"date":"2013-05-01T22:13:18","date_gmt":"2013-05-01T20:13:18","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=66773"},"modified":"2014-01-10T22:15:42","modified_gmt":"2014-01-10T20:15:42","slug":"from-south-america-to-europe-2","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/from-south-america-to-europe-2\/","title":{"rendered":"From South America to Europe"},"content":{"rendered":"

Verona, Teatro Filarmonico, Symphonic Concert Series 2012\/2013\u00a0<\/em>
\nOrchestra\u00a0 Arena di Verona<\/strong>
\n<\/strong>Conductor\u00a0Pablo Mielgo\u00a0<\/strong>
\nCello soloist\u00a0<\/strong>Zoltan-Zsolt Szab\u00f2\u00a0<\/strong>
\nViolin soloist\u00a0G\u00fcnther Sanin<\/strong><\/strong>
\nGiorgio Battistelli<\/em>: Pacha Mama
\nHeitor Villa- Lobos:<\/em>\u00a0Cello Concerto n.2
\nB\u00e9la Bart\u00f3k:\u00a0<\/em>Rhapsody n.1\u00a0\u00a0for violin and orchestra<\/em><\/em>
\nJohannes Brahms:<\/em><\/em>\u00a0Symphony n. 1 in C minor op. 68
\nVerona,\u00a0\u00a027th April\u00a0\u00a02013
\n<\/em><\/p>\n

\"Pablo<\/a>
Pablo Mielgo<\/figcaption><\/figure>\n

Two themes that have accompanied the Symphonic Concert Series at the Teatro Filarmonico in Verona this season, were also included in the penultimate concert on 27th<\/sup>\u00a0April(repeated 28th<\/sup>): the presence in the programme of a contemporary work, in this case,\u00a0Pacha Mama<\/strong>\u00a0by\u00a0Giorgio Battistelli,\u00a0<\/strong>and of one or more pieces belonging to the nationalistic school, represented in this concert by the\u00a0Cello Concerto n.2\u00a0<\/strong>by the brasilian\u00a0Heitor Villa \u2013Lobos,\u00a0\u00a0<\/strong>and \u00a0Rhapsody n.1\u00a0<\/strong>for violin and orchestra by the Hungarian composer\u00a0Bela Bart\u00f3k.\u00a0\u00a0<\/strong>The second half of the evening was dedicated to\u00a0Johannes Brahms\u2019 Symphony n.1.\u00a0 Giorgio Battistelli\u2019s<\/strong>\u00a0work\u00a0Pacha Mama<\/strong>, in this occasion at its Italian premi\u00e8re, is inspired by the Inca god, symbol of agriculture and fertility.\u00a0 The composer makes use of\u00a0 a very large orchestra, which besides full string, wind and brass\u00a0 sections, includes contra-bassoon, bass clarinet, four percussionists, harp, celeste and piano. The clarity and rigour of his composition and orchestration, makes the work accessible even to the uninitiated, and guides them from the rarefied atmosphere of the opening, created by the strings, through the gradual addition of \u00a0overlapping instruments to increase the timbric and dynamic interest and depth, to a vibrant and luminous\u00a0 world of sound which evokes the world of nature and fertility represented by Mother Nature.<\/p>\n

\"G\u00fcnther<\/a>
G\u00fcnther Sanin<\/figcaption><\/figure>\n

At the work\u2019s climax, alternating orchestral sections, strings, wind and brass, provided a sustained carpet of sound over which the primitive but varied sounds and rythms of the percussion instruments are superimposed, never for mere effect, but woven into the musical plot as an integral and significant part of it, in a progression of intense and expressive involvement. Continuous moments of surprise and curiosity were created by simple but efficacious effects, such us the surprising sound, in the vaccuum of silence left by a sudden interruption of overwhelming orchestral forces, of the random ticking of the bow sticks on the strings like drops of rain. \u00a0The orchestra played with care and conviction, capturing the attention of the audience who received the work warmly.\u00a0Tying in to the ethnic theme of the opening piece, with strong influences of folk music of the respective composers, were the two works for soloist and orchestra. The soloists were both principal players from the orchestra. The first piece, cello concerto n.2 , a work belonging to Villa-Lobos\u2019 mature period, unites Brasilian idioms expressed in his own personal style, with the musical language of the European avant-garde style of the 20\u2019s and 30\u2019s. The cellist,\u00a0Zoltan-Zsolt Szab\u00f2<\/strong>\u00a0 performed\u00a0 the concerto with great ease and sincerity, engaging the technical challenges of the work,\u00a0 especially \u00a0the cadenza,\u00a0 with precisione and panache , and displaying a warm and\u00a0 mellow sound in the eloquent phrases of the more melanchonic and sentimental melodic passages. His overall attention to the structure and phrasing of the piece, distinctly endowed the performance with elegance.\u00a0\"264FotoEnnevi_011_20130426\"<\/a>Bart\u00f3k\u2019s Rhapsody n.1 for violin and orchestra,\u00a0<\/strong>was\u00a0<\/strong>composed in 1928 and dedicated to his friend, the violinist Josef Szigeti, a great virtuoso with whom Bartok occasionally performed in recitals, and with whom he recorded the original version of this work for violin and piano. In it, he uses authentic Transylvanian and gypsy folk music material which was to become his hall-mark. The two contrasting movements, the first, at a moderate pace in a lyric style \u201cLass\u00f9\u201d, and the second \u201cFriss\u201d\u00a0 a lively movement at a faster pace, punctuated by vivacious bowings of the soloist are typical of the rhapsodic style. The soloist,\u00a0the concert master of the orchestra,\u00a0G\u00fcnther Sanin,\u00a0<\/strong>limited himself to an accurate\u00a0<\/strong>reading of the piece,\u00a0 avoiding both the timbric nuances which characterize this style of music, and the abandon typical of gypsy music and the rhapsodic form which give the piece its directional thrust and emotional charge. Notwithstanding the greatly reduced string section in the two solo pieces, both solo voices were often covered up by the orchestral accompaniment.\u00a0\u00a0\u00a0\u00a0 If there had been signs in the first half of the concert that the conductor, the Spaniard\u00a0Pablo Mielgo<\/strong>, and orchestra weren\u2019t always in complete agreement, in the second half of the<\/p>\n

\"Zoltan-Zsolt<\/a>
Zoltan-Zsolt Szab\u00f2<\/figcaption><\/figure>\n

concert, the lack of cohesion was much more tangible. \u00a0From the opening bars of\u00a0Brahms\u2019 1st<\/sup>\u00a0Symphony,\u00a0<\/strong>where the insistent, repeated beats of the tympany, under the soaring taut theme, instead of sounding as implacable as a death knell, were more reminiscent of the light and airy strokes at the beginning of the Beethoven violin concerto,\u00a0 were a\u00a0 premonition that the interpretation would not be one of the most intense. \u00a0Consistently, the thematic line was also lax. \u00a0A miriade of opportunites to exploit the strong harmonic tensions and contrasting dynamics and timbres which make this one of the great and most beloved symphonies of romanticism, were lost in a rather unimaginative reading. The winds resulted loud and\u00a0 overbearing, making no effort to amalgamate their sound. The horns in particular, usually so precise and measured,\u00a0 were out of balance with the rest of the orchestra and the sweet and delicate solo of the solo violin was inaudible as a result. At the end, the impression was that of a rather nondescript performance and a lot of missed chances to exalt the symphony\u2019s intrinsic drama and beauty.\u00a0 Apart from a lone and indignant display of disapprobation from one of the audience at the end of the first movement of the Brahms, the concert was received\u00a0 with convinced applause at the end.\u00a0Photo Ennevi<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Verona, Teatro Filarmonico, Symphonic Concert Series 2012\/2013\u00a0 Orchestra\u00a0 Arena di Verona Conductor\u00a0Pablo Mielgo\u00a0 Cello soloist\u00a0Zoltan-Zsolt Szab\u00f2\u00a0 Violin soloist\u00a0G\u00fcnther […]<\/p>\n","protected":false},"author":105,"featured_media":51856,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[981,14678,9354,7626,7625,1940,6545,4826,793],"class_list":["post-66773","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-bela-bartok","tag-concerti","tag-foreign-readers","tag-giorgio-battistelli","tag-gunther-sanin","tag-johannes-brahms","tag-orchestra-dellarena-di-verona","tag-pablo-mielgo","tag-teatro-filarmonico-di-verona"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66773","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=66773"}],"version-history":[{"count":0,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66773\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/51856"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=66773"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=66773"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=66773"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}