JOSEPH HAYDN • Symphonie Nr. 39 g-Moll Hob. I:39
WOLFGANG A. MOZART • "Per pietà, non ricercate“ KV 420
WOLFGANG A. MOZART • "Or che il dover“ – "Tali e contanti sono" KV 36
CHRISTOPH WILLIBALD GLUCK • Ouvertüre Iphigénie en Aulide
CHRISTOPH WILLIBALD GLUCK • "Unis dès la plus tendre enfance" Iphigénie en Tauride
WOLFGANG A. MOZART • Symphonie Nr. 25 g-Moll KV 183
Four dazzling gems in a sumptuous jewel box
To attend only one of these two Matinees was a great sadness for me. I had a ticket only for the second one. Both concerts were 'SOLD OUT' from the very beginning to the very last day, and when tickets appeared for 23rd August on the last day, it was too late for organising train and hotel!
The Mozarteum Grosser Saal is an exceptional venue, a world apart even in Salzburg, distinguished by its architectural beauty, its uniquely intimate atmosphere and its excellent acoustics. A fabulous place made even more special by the performers of this concert.
I like Haydn, even though he is not among my greatest composers. But with this orchestra and under the baton of the excellent Ivor Bolton, this music (Symphony No. 39 in G minor, one of the passionate 'Sturm und Drang' /'storm and stress' - a movement of sensiblity emerged by the Enlightenment/ symphonies of high pathos of Haydn) fascinated me with the rich sounding of the orchestra, the exceptional sense of style and the immense energy of the conductor, the sensational sound of the four horns, the agitation of the music. I liked particularly the 'Andante', one of the most gorgeous slow movements of the composer, and also the frenetic finale.
Gluck's Overture to Iphigénie en Aulide is an enchanting music and a perfect introduction to Rolando's aria.
Mozart's Symphony No. 25 in G minor, K. 183. is very close to Haydn's Symphony No. 39, with its dramatic first movement and with the finale which offers the turbulence and the wild tension of the first movement. Also in this symphony, the four horns lend an unusual and extraordinary sound to the music.
When Rolando started to sing, I had the impression (and this happens to me countless and countless times), that I have never heard such a beauty. But not only this heavenly gorgeous voice captivates me: The unbelievable capacity of Rolando to offer new colours in his voice, to explore new ways to express all kinds of emotions, to give us the magic of Mozart's poetry and humour.
As the Mozart CD is one of my greatest treasures and as I attended several Mozart concerts, these three arias are very familiar to me, but at this Matinee, we had something new.
Which of these arias was the most magnificent?
'Se non trovo in che sperar', or 'Chiamo solo' or 'che mi venga a consolar' was the climax in 'Per pietá, non ricercate'? Which colour of his voice was the most thrilling? 'Penso, ripenso ...' or '... le chiedo la ragion, tacer le miro' or '... non obbligarci a dire...' was the most stunning in 'Or che il dover...'? The richness, the warmth, the splendour or the sweetness was the most impressive in his voice?
And the tremendous ability of Rolando to perform, play, sing 'Con ossequio, on rispetto', this phenomenal piece full of irony and satire! This aria was sung as an encore.
For me, the highest point of this Matinee undoubtedly came with 'Unis dès la plus tendre enfance', this air of Gluck, sung with the deepest soul in the heart, the most profound emotions, the strongest feelings and with an infinite tenderness.
A rain of applauses and bravos filled the Grosser Saal. Rolando was granted a standing ovation in recognition of his art.
Gracias a Eleonore y Anne por su colaboración