Auditorio de Alicante

Last season the Auditorium of the Provincial de Alicante, He offered a great program, with excellent musical events, as in the case of the concert conducted by Vasili Pretenko front the Royal Liverpool Philharmonic to, with the presence of the great Joaquin Achucarro in the Piano Concerto No. 2 God give, and the magnificent performance of Symphony No. 10 Dimitri Shostakovich.
As well, that Symphony No. 9 Beethoven, -BRIO discussed in class- Riccardo Chailly and which imposed a fast tempos, following execution criteria designed by the great musician of Bonn. Y, maybe, como gran hito de esa pasada temporada cabría señalar el concierto de mediados de enero de 2013, with the Orchestra of the Mariinsky Theater in St. Petersburg, with the always excellent address of the owner Valery Gergiev, and a program including Concerto No. 3 Rachmaninov and, especially a magnificent, in every sense, interpretation of La Symphonie Fantastique by Hector Berlioz, which left the audience spellbound materially, This concert was also widely discussed in our magazine.
As well, highly noteworthy was the concert by the Bamberg Symphony, directed by Jonathan Nott, with that attractive mix of a pre-romantic and classical represented by Symphony 5 Frank Schubert, and that innovative and Symphony No. 4 Mahler Gustav straddles the nineteenth and twentieth centuries. The season ended with another great concert by the State Symphony Orchestra of Moscow, with good pulse directed by Pavel Kogan, and it included the Tchaikovsky Violin Concerto, nicely executed by Boris Belkin, and that work so attractive and spectacular orchestrated by Maurice Ravel version, of Pictures at an Exhibition Mussorgsky, who originally he conceived for piano. Just a week ago we heard this version for piano, at the opening of the season SOCIETY ALICANTE CONCERTS, notably performed by American pianist Nicholas Angelich.

As well, the autumnal start programming 2013-2014, We also holds important musical events, since the same season opening, in the concert that will take place on Friday 18 of this October, with the Orchester National de France directed by Daniel Gatti, and a very attractive program that includes: Egmont Overture by Beethoven were Luwig, Symphony No. 96 (The miracle) Joseph Haydn, released in 1791 and belonging to the group of twelve <<London symphonies>>, ranging from Symphony No. 93 also it composed 1791 the Symphony 104 (London) from 1795, which together constitute a true jewel of the classical symphonic catalog. Y, to conclude, classicism of the postromanticism with the execution of the Symphony No. 1 (Winter Dreams) de Tchaikovky.

The second concert will take place on Tuesday 19 of November, con la World Symphony Orchestra, directed by Josep Vicent. The program includes two works by Maurice Ravel: La valse and Sheherezade, the latter work performed by the soprano Ángeles Blancas. In the second part, the audience will enjoy listening to the most significant musical fragments of the ballet Romeo and Juliet, its author Sergei Prokofiev epitomized in the "Suites I and II".

Ya, Monday 2 December is scheduled summits of choral works: the oratorio The Messiah Friedrich Händel, interpreted by the Wiener Akademie, Sine Nomine choir and soloists Anna Prohaska (soprano), Robin Blaze (countertenor), Steve Davislim (tenor), all led by Martin Haselböck.

El último concierto del presente otoño tendrá lugar el sábado 14 from December, the interpretation of Verdi's Requiem -we are in the "Year Verdi" (second centenary of the great musician Busetto)- with the excellent Orchestra of Valencia, Riccardo Chailly and directed by the magnificent Choir of the Generalitat Valenciana, directed by its French owner Perales. Great orchestral work packaging, with stunning coral interventions, where four solo voices are inserted: soprano, tenor, mezzo and low, played respectively by Carmen Giannattasio, Giorgio Beruggi, Veronica Simeon and Li Liang. Surely it will be a good orchestral and choral version by the presence of Valencian formations already mentioned.
But nevertheless, and is a possible recommendation for attendees to this work live, escuchar previamente, one of the following versions on CD or DVD: Decca Recording 1960, with the Vienna Philharmonic Orchestra and the sensational voices of Jussi Björling and Leontine Price, flaqueados well by mezzo Rosalind Elias and bass Giorgio Tozzi, all led by Fritz Reiner. It is also necessary to point out another historic Requiem, with the magnificent performance of the young Luciano Pavarotti, next to a Leontine Price, with, even, even more interpretive freedom in the Viennese aforementioned recording; Y, junto a ellos the great means Fiorenza Cosotto, and Bulgarian low -then in his best vocal moment- Nicolai Ghiaurov, all directed by Herbert von Karajan at the front of the Orchestra of the Teatro alla Scala, a function filmed at the Teatro in Milan 1967 and later remastered and released on DVD by Deutsche Grammophon.


? 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.