Milan, Riccardo Muti triumphs at the Scala, with the Chicago Symphony

Triumph of the Scale, the last stage (in Italian this evening to the Lac of Lugano), Riccardo Muti and the Chicago Symphony. Triumph in spite of an audience so provincial to do the standing ovation, and immediately after, turn your back to the stage to earn the wardrobe, not calling Dumb at least once more. Triumph-written but strongly desired. From the layout, first of all.

The master has preferred to bring to Milan (as in Florence), the program is more idiomatic: it is ideal for showcasing the special qualities of the Chicago Symphony, and it can define his old passion for some of the masterpieces of the Twentieth century, such as the Symphonie Mathis der Maler by Hindemith and the Third Symphony of Prokofiev. Scores that seem to have been written on the extent (in reality a part of the music of Prokofiev, created for the opera the Angel of fire, where the symphony resounds, explicitly, had the first reading of Chicago) of a team-battleship, the orchestral has made of the shine and the Polish collective a signature that is difficult to imitate.

The master would have easily been able to trigger the auto-pilot, and merely monitor the evolution perfect executive of picturesque archaisms of Hindemith and of the colours, music and hot (in the cantabile, in the brutality of harmonic and instrumental, and in the barbarisms of the rhythm) of the magnificent and teatralissima symphony of Prokofiev. But Dumb, he wanted to insinuate in this music linguistically a bit anachronistic (compared to the years of composition, the environment from which derived, and the evolution of character of their respective authors), the personal conviction.

Linked to his way to seek and find the “form” in music and increase in the distension of the articulation of the vocation cantabile, the natural seduction of colours. If in the overture of wagner's Fliegende Holländer, who opened the program dominated by a sense of panic and rhapsodic, in the Symphonie spadroneggiava the contrast between lyricism calibrated (unforgettable the legato of the strings in the start of the "Versuchung des heiligen Antonius" of the Matis of Maler), coating amber colour and clarity in assessing the bead used here is obsessive as a response.

release the reins in the Third prokofieviana but without foster drift paraespressionista; if “normalising synchrony” in the way that the plot the horizontal and the coherence of narrative as dictated by the gesture – from the symphony to independent and traditional, not from the admirable tadsebao “civilised” by the Angel of fire – to take up the interest, the heart and head of those who listened. Putting out program – the Intermezzo from Fedora by Giordano, presented as the plot of a homage to Italian, from milan (the opera debuted at the Teatro Lirico Internazionale) and the two teachers loved, Antonino Votto, and Gianandrea Gavazzeni, another example of music that bypasses the register and stylistic and that in the tense expansion of the executive sounded desperately affectionate, almost nostalgic.

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