Wednesday, September 28, 2022

Martha Argerich, an unwavering and always stunning solo artist | festival balance

The applause, which seems unbroken, echoed warm and dense in the packed room. in the center of the stage, Thanks Martha Argerich, He puts his left hand on his chest, looks up, crouching slightly at times. smile. But not much. If it seems she doesn’t understand that much noise, or some sort of astonishment distracts her from the task of receiving gratitude for what she just gave. Next to him is Louis Gorelik, Every time the director takes a step back to leave her alone before the ovation, she immediately catches on. She doesn’t want to be alone. Not even in that simple form of dance which is a greeting after a performance. On Saturday, at the Teatro Colón, Argerich played with Gorelik as head of the stable orchestra. Concert No. 3 Op.26 by Sergei Prokofiev. it was big moment of farewell night of the Argerich Festival before the final salute with animal carnivalby Camille Saint-Saens, with Anne Dutoit as narrator and Dong Hayek Lim on second piano.

Prokofiev’s “The Third”, a work horrified by pianists, conductors and orchestra teachers, is one of Argerich’s main concert halls., Russian composer’s runaway inspiration translates into A technically toxic score, riddled with expressive trickery, A work in which the relationship between soloist and orchestra is expressed in settings that in some sense act like a clockwork mechanism, oscillating between dialogue and discussion. Once again Argerich managed to bring so much materiality into the realm of the transcendent. Overcoming the conditions of the mechanical and writing tradition, the pianist achieved in this work what few others can: fresh, effortless, plastic and, as always, to sound exceptionally musical.

first movement taken with motion For this concert to happen as quickly as possible, it was as overwhelming as it was beautiful. Sometimes this dragged the stables into its whirlwind, with which, however, Gorelik immediately managed to do a very commendable job. especially in the second movement and in the last dithyrambique, when The director managed to do his best to get the best out of the orchestra And thus serve up an unbroken solo artist, which is always surprising. If at eleven o’clock he played, they say, with the maturity of tanned, At 81, Argerich plays with the unstoppable transparency and vibrancy of a child.

In the second half of the program there was another matrix, lighter, but also attractive, if you wish. opening carnivalA Perfect Meteorite in a Starry Night, by Antonin Dvoák, was its foreword animal carnival, With a historical Dutoit as the narrator, Camille Saint-Saens’ “zoological fantasy” described a succession of tortoises, elephants, chickens, hemians and swans, without forgetting those “concertivorous mammals”, pianists. A playful moment to which Argerich, Dong, Gorelik and the orchestra’s successive soloists responded with excellent musical instincts, to enhance Another Standing Ovation night. The last.

Thus ended another edition of the Argerich Festival. There were Seven Nights and One Afternoon, in which there were moments of great musical intensity and emotion – this and that which passed – under the liberating aura of one of the great pianists of the century. Argerich, Charles Dutoit and the Philharmonic Orchestra performing Ravel at the opening concert; two functions with story of a soldier, by Igor Stravinsky – staged by Ruben Zuchmacher, with music direction by Dutoit himself and a notable cast–, before Martha doing her own Bach; Concert for two pianos by Martha and Sergei Babayan, with an ardent Prokofiev and Mozart of complete humanity and emotional perfection. These, and last night, of course, are the things that will remain among those milestones that promote An artist capable of penetrating through his charisma, the never well-explained stereotype of the “classical music public”,

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On the days of the Argerich Festival, The colon was a separate theatre. More open, if the wording fits. There was a partial fresh vote in, who could also appreciate actions between movements. If Mafalda said that for the worship of a certain stale Platista race, it could also be a “beginning” for those who listen better. It is necessary that these large and expensive events serve them public renewal, The country’s biggest music factories need to open up to new audiences and not give up on its tradition and its essence.

On the contrary, it should reinforce them. Events like the Argerich Festival prove it. Need to change the idea that “classical music” is for the elite, For some time now, the city that has a university, publicly ranked among the 50 best in the world – a powerhouse of new audiences – has seen that the traditional idea of ​​culture is at odds with the “exclusivity” of the wealthy. with. Every day there is more evidence that the people who manage capital here and in the world are animals. And for the worse, proud to be,

In this sense, it is time to highlight the good reflections of the direction of Köln, given its status as a state institution and the low pre-sales of concerts in which Argerich was not the direct protagonist, Promoted “last minute” promotion with tickets for 200 pesos for people under 35, The success of the proposal meant that the same strategy was used for the lyrical rendition that This Sunday Afternoon was animated by German-Canadian tenor Michael Schade and Mendoza soprano Veronica Kangemi within the framework of the Grands Interprets cycle.

One can only hope that this ending is a good beginning.

Nation World News Desk
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