Berlin Philharmonic renews its scepter with the eternal Mozart
lists that usually highlight the best in the performance of a profession, or establish categories among artistic achievements, which is an obviously subjective matter, Dismay those who see the pursuit of excellence as a futile exercise that, in any case, will only serve to perpetuate inequality. Pointing out, even if it is most deserving in the achievement of any worthy achievement, can only generate frustration, complications and depression, i.e. unwanted conflicts among common souls. Not even envy, because it usually serves as an incentive, in the best of cases, to imitate envy, when the main aspiration is to sink quietly into that thick grayness that requires hardly any effort. it occurs.
Therefore, instead of promoting competition, as in the present day, as the Greeks had already done, their time gave to holding tournaments of all kinds, such as those dramatic festivals in which rival writers fought for trophies. had competed for, today they prefer not to bother, Promote pure positivity that does no harm to anyone, including uplifting the most common qualities, if at all. Instead of celebrating the successes that will allow us to rise above and deepen our mediocre human condition, Authentic “progress” today is in the making of a “blank slate”. Any merit means setting differences, standing out from the herd.
The best orchestra in the world, yes, the Berlin Philharmonic, first of the class, has passed through the cities enjoying the main auditoriumsMadrid, Barcelona and Zaragoza, no matter how many mirrors that refuse to set fees, in which aspirants want to achieve the recognition that still knows what Longino is called. «The art of the sublime and the profound». If you want, listening to the opening bars will be enough Symphony No. 25 Mozart’s, that syncopated rhythm of the string that initiates the greatest turmoil, a play as its author would later reach some of his greatest musical contributions (his operas, the final piano concerto), already to the highest sting to feel, The miraculous timelessness that Celebidache attributed only to this composer’s (and Bach’s) ability to transcend any era To appeal to man eternally, beyond the expression of the moment.
Its members are people who are strangely convinced of their great mission, in some cases by themselves and in others by the constant influence of great personalities such as the Great. The group’s last regular conductors, Claudio Abbado, Simon Rattle and now Kirill Petrenko. All of them can be confirmed by what Stefan Zweig declares in his laudatory portrait of the great Arturo Toscanini: “He knows with monstrous clarity what he wants.” The Siberian director also launches to explore it, perhaps provided in other, more subtle ways, as the time demands consensus in pursuit of a unitary vision that has been put forth before, but always under the same premise. That he is constantly “in reach”. In making the unattainable and the impossible possible.” banished “gentle conformity, compromise, pathetic complacency (…) with the conciliatory force of the priest and the resignation of the believer, with the disciplinary rigor of the teacher and the relentless veneration of the learner without conflict».
The Mozart he now performs on his tour has little to do with those superficial versions, having turned towards a certain outward sheen, with a more spirited, graceful and polished profile that is appropriate at the moment that evokes introspection, battle. Stops at any signal, seriously. explanation of the reason K.183with its unusual minor key, often referred to disparagingly, appears to be related to “Great tradition”, a Klemperer’s stern approach, without further ado, well-pronouncedIdeal for trying to express his mystery, the desire of a seventeen-year-old teenager, almost for the first time, in the darkest valleys of existence, but without ever leaving the path of an indifferent expression, through Some very defined structures that Petrenko knew how to delineate with masterful strokes.
A program entirely devoted to the Salzburg composer also offered dereligious work, in which all the power left in the will does not kill RequiemThat supreme show of battle between terror and prayer, but which manages to unite sensuality with emotion at the highest level, as is always the case with Mozart. Its extraordinary sweet fluidity gives interest Rejoice!Beautifully sung by soprano Louise Adler, a voice with enough weight to project without problem, flawless coloratura and a grateful expression.
She was undoubtedly the best ever called for the Irregular Quartet coronation mass, Here Petrenko, following Abdo’s custom almost always with this orchestra, placed the vocal soloists between the formation and the choir, a little higher, but without three of them, at least, could hardly hear them properly. Were staying Rather than being responsible for the situation on stage, its inadequacies have been mainly due to The current horrifying craze for having Mozart interpreted it as, on so many occasions, “anemic” voices. Here there is no place for «historicisms» or mandangs, the Mozarts that were sung in the 50s and also referred to in the 60s of the last century, when Don Octavio was still a tenor named Alfredo Croce and Tamino, Fritz Wunderlich (Francisco Ariza and Ramon Vargas until recently), for example, and not from some of the “cats” that now have us in this repertoire.
That mole, confirmation that perfection is rarely attained in this world, does not fade heard about the wonderful explanation MassEnergetic and hot, great on its debutWith a precise balance designed between the most dramatic moments (Blessings) and intimate, like Agnus DeiIn which Lewis Adler shines once again, and a happy conclusion. The participation of Orfeón Catalan was much celebrated., Finally forced to salute several times alone. Suffice it to point out that his spectacular performance was at the height of what was offered by the Berliners. Please come back as soon as possible.