/ world right this moment information/ The final two concert events of the “Baroque Artwork” competition reminded us of the dominant spirit of theater within the seventeenth and 18th centuries. The opera, by which overexposed passions and sudden dramatic conditions swirl, is a favourite pastime of the Baroque viewers.
The eagerness for the theatrical can also be present in instrumental music – the soloist, just like the hero on the stage, is the star of the live performance efficiency. An ensemble drew us to this vital historic perspective The ambassadors – „The Ambassadors”, led by Alexi Kosenko, with its program on November 17, which we will name “Viva Italia!”. She began from Leonardo Leo’s Concerto for Flute, Two Violins and Basso Continuo and turned to Handel. The younger composer’s keep in Italy was an inspiring college, fueling the flame of latest concepts, and through his profession in London, the place he wrote operas and cantatas within the Italian method – in illustration, arias from the opera “Tamerlan” and the cantata “MiPalpitailcor” sounded. Between Handel’s works, we heard items by Jean-Marie Leclerc and Michel Blave – preachers of the modern Italian model in France, which they crossed with typical French class and danceability. This yr The ambassadors had been within the chamber format of a quartet/quintet of two violins (Zefira Valova and Zhivka Kalcheva), cello (Poppy Walshaw), harpsichord (Marianna Henriksson) and flute (Aleksi Kosenko). Not like fashionable devices, classic devices or their copies (as performed by the band’s musicians) sound with a quieter however clear sound, extraordinarily wealthy in overtones. This presupposes absolute completeness of this “mini” orchestra in your complete resonating spectrum from excessive to low tones, and in addition a bonus.
The well-known Flute Concerto in A minor by Michel Blave Alexy Kosenko carried out with the convenience of an ideal artist – virtuosic prospers, lengthy drawn-out tones, breathtaking, beautiful dialogues between the soloist and the prima-violins. All that is harking back to bravura opera arias, and it was not by likelihood that I emphasised the theatrical taste of baroque instrumental music, it was masterfully revealed by Kosenko. The sonata for 2 violins and basso continuo in B minor by Leclerc can also be an instance of excessive virtuosity, however in it the hero appears to be speaking to himself. The music expresses completely different emotional states that the violin duo Zefira Valova and Zhivka Kalcheva created in spellbinding partnership and sophistication instrumentalism. Popie Walshaw and Marianna Henrikson they led the basso continuo half, within the previous ensemble it’s the basis – very skilled musicians, with admirable stylistic creativeness! We are going to spotlight the particular participation within the live performance of the younger Italian countertenor Carlo Vistoli (graduate of Sonia Prina, laureate of prestigious competitions). Baroque opera, we all know, is the realm the place countertenors rule. The opera “Tamerlan” by Handel gathers in a joint mission Vistoli and The ambassadors – days earlier than coming to the competition, for the primary time in Poznań, they carried out your complete work in live performance. Vistoli sang the a part of Tamerlane, in Sofia he carried out not solely two arias of his hero, but additionally two of his rival Andronicus. In a extra chamber gentle, Vistoli shone in Handel’s solo cantata, a powerful coda was the encore aria for solo flute and countertenor from Vivaldi’s Orlando Furioso. He’s undoubtedly a singer and artist with expertise, we’ll bear in mind him as a discovery of the competition.
In “The Artwork of the Baroque” for the primary time we attended the distinctive “overplayed” between two nice performers: the Dutchman Erik Bosgraaf (recorder) and Bulgarian Nedyalko Nedyalkov (kaval). Improvisation is a ardour for each gamers, who’re really attracted not by the thought of aggressive supremacy (such contests-attractions had been common within the Baroque period) however by the thought of communication in music. A bit of background: between the CD of Vivaldi’s “Seasons” (Bosgraaf carried out his personal model with the Cordevento Ensemble in 2012 in “The Artwork of the Baroque”) and the upcoming album of works by Pierre Boulez, the Dutch virtuoso embarks on the brand new “Bulgarian ” journey. Ever because the creation of the Baroque Competition, Eric has been an irreplaceable participant, his concert events are at all times occasions! The title of Nedyalko Nedyalkov, a soloist within the Folks’s Orchestra of the BNR, turned well-known together with his participation in tasks by the baroque guru Yordi Saval.
How did the “Overwhistle” go? First Eric carried out three of his favourite items by the Dutch grasp Jacob van Eyck, Nedyalko Nedyalkov’s monologues had been on a number of Bulgarian folks songs and Wallachian folks songs. And the fiesta of the “Loopy”-duo, as they had been referred to as: “Chichovata”, “Krivo Pazardjishko Horo”, “Krivo Sadovsko Horo”, “Hubava Si, Moya Goro” (“Karaschisana” with the baroque “Amarili”) started. Enjoyable of the very best order! Eric’s strategy to Bulgarian folklore will not be endearingly touristy, it’s a spur to his improvisational fantasy. Sunday, in fact, freely floats in our folklore, nevertheless it confirmed what the expert opponent is able to. With exact hits he reacted, provoked and performed with Eric’s loopy concepts. It’s troublesome to speak about this live performance, the expertise stays a private flight of the soul, lifted by the 2 magicians.
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