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Kirill Petrenko and the Berliner Philharmoniker : Yes, we want!

The Husterei between sets of the Tchaikovsky 5. Symphony are a compliment to the performers – almost even more so than the hardly-ending final cheers. Because t

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Kirill Petrenko and the Berliner Philharmoniker : Yes, we want!

The Husterei between sets of the Tchaikovsky 5. Symphony are a compliment to the performers – almost even more so than the hardly-ending final cheers. Because the listeners show that they are listening to the Berlin Philharmonic orchestra and designated principal conductor Kirill Petrenko, as long as the music is running. However, because a lot of focus in the sold-out room is not used, this creates an inner Pressure that must get out by Hawking, or any other bell sounds.

Petrenkos Interpretation is stunning. The depth of the stage space, the sound of the Philharmoniker is expanding. An imaginary ballet is listed in this clay-hall, as the Russian conductor avoids the work of his compatriot all Pathetic, all Larmoyante. The fate motif, which draws the score, opposes positive energy, powerful, pulsating courage.

The Finale is a natural event

Vital, instead of fatal is this Fifth. And so rich in detail, as it is the Petrenko in the usual way. Refined, as the conductor leaves the the beginning, quite neutral games and so the curiosity increases, such as the well-known piece is likely to develop. From the magnificent Bläsersoli at the beginning of the Andante cantabile, a dream fulfilled and love unrequited passion unfolds, teasingly, the gun effect the throw of the horns, which highlights Petrenko in the ball scene, for natural event, the rapidly taken the final, culminating in a blinding Fortissimo.

And the orchestra play inspired for your future boss, your future boss. He calls you Expressed, you respond with virtuoso precision, brilliant sharpness, devotional melodies. This evening will be a single collective "Yes, I will," five and a half months before the official took office, Kirill Petrenkos.

That, he loves challenges in Programmatic, shows the choice of Schoenberg's violin Concerto before the interval. With Patricia Kopatchinskaja, however, he can Smile, muster a soloist, the twelve-tone music is playing with absolute sovereignty, tenderly almost, with closed eyes and Mona Lisa. The also dancing, as is always barefoot, of course, the bow over the strings jumping, as this was a Paganini Caprice, only, of all the shackles of traditional tonality freed. And indeed, Soon the Dissonant is a matter of course, that all the melodic grace of the end, which flashes here and there, now appears as the Extraordinary.

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Frederik Hanssen

Twelve of the Newsletter, twelve districts: Our people-the Newsletter from all districts of Berlin you can order it free of charge: leute.tagesspiegel.de

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