{"id":66789,"date":"2012-11-22T23:28:29","date_gmt":"2012-11-22T21:28:29","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=66789"},"modified":"2016-12-20T10:42:09","modified_gmt":"2016-12-20T09:42:09","slug":"the-classical-viennese-school-at-the-teatro-ristori-2","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/the-classical-viennese-school-at-the-teatro-ristori-2\/","title":{"rendered":"The Classical Viennese School  at the Teatro Ristori"},"content":{"rendered":"<p style=\"text-align: justify;\"><em>Verona, Teatro Ristori, Stagione Sinfonica 2012\/2013 della Fondazione Arena<br \/>\n<\/em><strong>Orchestra dell&#8217;Arena di Verona<br \/>\n<\/strong>Direttore\u00a0<strong>Ola Rudner<br \/>\n<\/strong>Pianorforte\u00a0<strong>Andr\u00e8 Gallo<br \/>\n<\/strong><em>Ludwig van Beethoven<\/em>: &#8220;Coriolano&#8221; Ouverture in do minore op.62<br \/>\n<em>Wolfgang Amadeus Mozart<\/em>: Concerto nr.20 in re minore per pianoforte e orchestra K. 466<br \/>\n<em>Franz Joseph Haydn<\/em>: Sinfonia nr.104&#8243; London&#8221; in re maggiore<br \/>\n<em>Verona, 16 novembre 2012<br \/>\n<\/em><strong>The third of the four concerts devoted to the Classical Viennese School\u00a0<\/strong>\u00a0at the Teatro Ristori on Friday 16<sup>th<\/sup>\u00a0November(repeated Saturday 17<sup>th<\/sup>)by the Fondazione Arena di Verona presented three representative masterpieces. : Beethoven\u2019s\u00a0 brooding Coriolanus Ouverture, Mozart\u2019s remarkable piano concerto n.20 K.466 and Haydn\u2019s consummate \u2018 London \u2019 Symphony n.104. \u00a0The piano soloist was the impressive and very young<strong>\u00a0Andr\u00e8 Gallo<\/strong>\u00a0and the concert saw the welcome return of the conductor\u00a0<strong>Ola Rudner<\/strong>.\u00a0\u00a0If the orchestra of the Fondazione Arena di Verona didn\u2019t quite manage to launch into the necessary dramatic tension for the\u00a0<strong>Coriolanus Ouverture,<\/strong>\u00a0they nonetheless gave a decorous and dynamic performance swept along by the vigour and control of the conductor. \u00a0\u00a0The dark D minor tonality in the symphonic orchestral introduction to the \u00a0Mozart piano concerto, on the other hand, with its propulsive effect of rhythmic syncopation and harmonic suspensions giving a sense of restlessness in the strings, \u00a0immediately generated an atmosphere of anticipatory suspense.\u00a0 As in previous concerts, Rudner managed to bring out the best in the orchestra of the Fondazione Arena.\u00a0<strong>The orchestra and pianist were in complete syncrony with a perfect balance<\/strong>\u00a0in the moments of interplay between soloist and orchestra.\u00a0 The full roundess of sound of the orchestral tutti was maintained even when designated a more accompanying role, and the phrasing, dynamics and balance were corrispondingly fine-tuned.\u00a0\u00a0The very talented and accomplished pianist, Andr\u00e8 Gallo, executed the concerto with secure technical mastery and unerring musical and aesthetic involvement.\u00a0 His neat articulation and levity of touch, evoked the quality of a fortepiano, without renouncing \u00a0firmness and weight at the appropriate times. The elegance and eloquence of his line, particularly evident in the delicate and melodious second movement, and his innate musicality brought a refined and communicative expressivity to his performance; qualities which were confirmed in his three encores, Debussy Arabesque n\u00b0 1, e 2 pieces by Poulenc.<br \/>\n<strong>The excellent acoustics of the Ristori, allowed the conductor and orchestra<\/strong>\u00a0to play with t\u00a0The conductor took full advantage of this, at times reducing the dynamics to a whisper, highlighting harmonic suspensions, underlining accents and secondary lines, governing the balance and contrast between the different sections, carefully shaping the phrasing and devoting particular attention to the precision and homogenity of sound in the violin section: the graceful repeated staccato notes in the theme of the opening Allegro for instance and the final flourishes left to the violins repeatedly \u00a0throughout the symphony. \u00a0Moments \u00a0which emerged for the particular beauty of the ensemble playing were evident in the modified repeat of the main theme in the second movement with the violins and bassoon in unison amalgamated and balanced perfectly, and the fluctuating dialogue between the oboe, flute and bassoon in the trio of the third movement. \u00a0Rudner conducted with rigour and energy and the final movement characterized by its drone bass and theme based on folk melodies played gaily by the violins brought the symphony to a vivacious end.\u00a0<em>Foto Ennevi per Fondazione Arena<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Verona, Teatro Ristori, Stagione Sinfonica 2012\/2013 della Fondazione Arena Orchestra dell&#8217;Arena di Verona Direttore\u00a0Ola Rudner Pianorforte\u00a0Andr\u00e8 Gallo Ludwig [&hellip;]<\/p>\n","protected":false},"author":105,"featured_media":43644,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[9456,14678,9354,205,3645,9056,6545,793,253],"class_list":["post-66789","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-andre-gallo-it","tag-concerti","tag-foreign-readers","tag-franz-joseph-haydn","tag-ludwig-van-beethoven","tag-ola-rudner-it","tag-orchestra-dellarena-di-verona","tag-teatro-filarmonico-di-verona","tag-wolfgang-amadeus-mozart"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66789","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=66789"}],"version-history":[{"count":1,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66789\/revisions"}],"predecessor-version":[{"id":88030,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66789\/revisions\/88030"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/43644"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=66789"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=66789"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=66789"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}