Symphonie Fantastique by Hector Berlioz in the Auditorium of Alicante

Mariinsky

? The magnificent performance, last 15 from January, of the Symphonie Fantastique from Hector Berlioz by the The Mariinsky Theater Orchestra St. Petersburg, directed by Valery Gergiev (one of today's great directors, que no trampoline, does not use as), has risen to new heights the musical level alicantino.

But go to parties: The concert began with a beautiful and dreamy performance of "Prelude" from Lohengrin Wagnerian, with a delicate and almost ethereal interventions of the rope. This first part of the program continued with the Concerto for Piano and
No orchestra 3 de Sergei Rachmaninov. Premiered by its author at the piano, in November 1909 In New York. Almost as popular as the No. 2, though endowed with larger, and certain very own avant-garde touches of the time. Implementation is very complicated for pianists becoming a real challenge.

In the first movement "Allegro non tanto”, The Russian pianist Denis Matsuev, He was able to attack with courage and firmness dizzying descent hammered chords, alternating with both hands; as well as, run in the second movement "Intermezzo”, Tumultuous bars that link to the last movement "Alla breve", where the pianist showed his refined technique, though, offering at times, a sound somewhat metal.
In the second part, Entree as this concert, Russian orchestra played Berlioz's Symphonie Fantastique: after the incomparable symphonic achievements beethovenianos, two years have elapsed from the death of the genius of Bonn, occurred in 1828, young French composer Hector Berlioz name, with just twenty-seven years, He stunned the Parisian public with the premiere, he 5 December 1830, his Symphonie Fantastique, actually, an instrumental opera. In fact, listeners of this "premiere" they were provided a playbill, to follow an argument suggested by different instruments, players a percutante, colorful and brilliant orchestration. The premiere of Symphony Fantática (highly romantic work), almost it coincided with Victor Hugo's Hernani, considered historically as the "romantic manifesto". It is arguable that Hector Berlioz, Victor Hugo and the painter Eugene Delacroix, They form the "Holy Trinity" of romantic art.
Every artist immersed in romanticism, I feel motivated by a desperate love to a woman, most of the time, It is not reciprocated. But, in that period where the artist is engaged in its creation, You feel euphoric and fantasizes, thinking that the feeling he has for his beloved will be reciprocated when she came to know the work done in his honor. But nevertheless, most of the time, Women are shown contemptuous with these beings who come to love them both, and so desperately. This happened to Berlioz, when he had the chance to see the twenty years of acting in Paris, the English actress, shakesperiana Henrietta “Harriet” Constance Smithson, playing the role of Ophelia in Hamlet. this actress, They count the critics of the time, Nor was nothing short of the next world.
A Harriet Smithson, the letters he sent her admirer, They seemed so overly passionate, he completely rejected. However it was the muse of the Symphonie Fantastique, Berlioz was preparing at that time.
In 1930, this work generated by those emotions was considered "amazing and vivid", but the English actress would not attend the premiere in Paris. At that time the autobiographical nature of this work, with a program music, it was considered fairly: sensational and Innovadora. Criticism began to say: Beethoven died, with Hector Berlioz's Symphonie Fantastique and, He was born his true epígono.

Symphony subtitled "episode in the life of an artist" , It has a very detailed argument. Is that the reason why it is considered one of the best examples of program music. In the first movement "Dreams and passions", desperate young musician has been poisoned with opium, and a long sleep has a series of visions and nightmares with the idea of ​​his beloved continually hovering on his head. Recalls the joys and depressions of the past, before meeting, and later, a jealous neurotic when it became when she came into his life, leaving him only the consolation of religion. In the second movement "Dance", the protagonist discovers his beloved dancing a modern dance, for that time, called vals. This movement has come to stage for ballet, under the name of "La Sonnambula".
In the third movement "Scene in the field": a cowherd sing a melody with their flutes. Everything is quiet until the beloved appears again, causing tremendous concern to the artist. In the fourth movement "March to the torture": the protagonist dreams that murdered his beloved and has been sentenced to death, taking the road to the place of execution by guillotine.
As a real innovation on the classic sinfonismo, there is a fifth movement subtitled "Dream Night coven": a wild orgy in a demonic celebration, where the beloved has become a witch, Finally, with the hymn "Dies Irae", It is burned at the stake.

Great performance by the Mariinsky Theater Orchestra of the, directed by Valery Gergiev, who gave a true recreation of this work, at least comparable to the executions of the great master Latvian Mariss Jansons, in front of the Berlin Philharmonic (released on DVD), y de Herbert von Karajan, who also front of his big band berlinesa, He interpreted on many occasions, regrabándola recording it and Deutche Grammophon label for, and always extracting novel shadings.

Instrumentalists Russian orchestra performed very bright work, well combined for expressive play and iferenciados
sound plans. Metals up four horns, and severe rope, They glowed greatly with perfect sound. In an exemplary symphonic construction, It would highlight the implementation of that precious second movement to the rhythm of dance, with that brilliant coda where the harp arpeggios give this instrument a relief almost solo.

The fourth movement, that "Up to the torture"True paradigm orchestration, with those repetitive drum rolls, giving way to the rope, especially cellos and basses playing a sound from beyond the grave, and the fanfare of a brass afinadísimos, together with the expertise of the woods, with that fixed melody, exposed by the clarinet. This confess movement that has always impressed me- for its vibrant and brilliant orchestration, truly, He came to shake listeners.

Ya, in the fifth movement the trombones sounded brilliantly and unison, playing cartoony effects; O, those touches bell grim and funerary, which they are mixed with the sounds of the "Day of wrath”. Anyway, truly breathtaking moments that blew a public, who applauded loudly and for a long time director and orchestra. Given these samples of musical passion, there was a tip: The brilliant performance of the overture to Die Meistersinger, what he gave this concert a symmetrical character, with implementation at the beginning and at the end, of the two preludes Wagnerian. Not forget that, in this 2013, Apart from the "Year Verdi", It is also the "Year Wagner", at the two hundredth anniversary of the great German composer.