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Alondra de la Parra conducts RSB : idleness and insanity

At the end of the hall, whistles, Calls, Fußgetrampel raging. No doubt, the audience in the sold-out Berlin concert house loves Mexican conductor Alondra de la Parra: freedom, with the help of which you moved your left Hand, your program with works by Ravel, Korngold and Milhaud, the cool control of the radio Symphony orchestra of Berlin in Größtformation, the smart hip movements when Conducting, reminiscent of the Art of Leonard Bernstein, the mandatory Smile on your bow.

Perhaps the listener may also be the sequins glitter in the black tunic of de la Parra. Anyone who looks at you, is literally blinded. And who looks past her, missed the Essential, finally, is at the heart of the Symphony concert, because this evening, making us think that the Person at the Desk. Always the Conduct has a bit of Snake charming, the circus and Dompteurentum, always makes it visible, what to listen to and to hear. All the, born 1980, de la Parra, who is currently Boss of the Queensland Symphony Orchestra and for the umpteenth time at the RSB, a guest is done, with a serene championship.

meanwhile, this concert takes time to come out of the Slippers. Whether it is strategy, the Appeal of the scores, the strengths a little stingy with sophisticated rhythms and Timbrierung and boisterous and not immediately caving in? Maurice Ravel's "rapsodie espagnole" at the very least, a side view of the French composer on the neighboring country of Music, it starts tough, with a "Prélude à la nuit", which is not brought before a loud conciseness once the appearance of the lifting of the music, despite sharp statements of the clarinets, in spite of (or because of) the utmost control by de la Parra.

Ordinary noise moments

Even the "Habanera" is heard as the hand-brake, the "Feria" device loose. With Erich Wolfgang Korngold's D major violin Concerto, whose Solo part to Arabella Steinbacher with a dense, almost unabgesetzter bow takes the lead (later on she gives a virtuoso Kreisler-addition) is heated to more – gradually; even the Middle movement of the "Romance" threatens to choke on its beauty and repose.

As Darius Milhaud's orchestral fantasy "Le Bœuf sur le toit". Conceived as a movie musical, premiered as accompaniment to a ballet-Pantomime, sounds like this fantasy as a historical pedestrian street, pulled a bit of a stupid life here, a little idleness there, sounds that come audibly closer, and remove, noise, crowding in between, any amount of intentionally built-in false tones.

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it was with the Conciseness of this evening. Only to be expected that Ravel's second Suite for orchestra "Daphnis and Chloé", a music of subtle harmonic quarries and marble surfaces of the Orchestra, Alondra de la Parra with carefully placed dynamic height points, i.e., the ordinary noise moments equipping the audience in the concert hall of the Seats tearing. Ulf-Dieter Schaaff plays such a beautiful, luminous flute solo that she will hug him applause at the end.

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