While in the Palau de les Arts in Valencia, Sunday, Lorin Maazel led the final performance of his unbearable "1984" coinciding with his birthday, in the nearby Palau de la Música has been living a musical weekend really intense and interesting. Saturday 5
offered, in concert, opera Francis Poulenc Dialogues of the Carmelites " With the Orchestra of Valencia directed by who owned them years ago, Miguel Ángel Gómez Martínez . And the next day we expected a lieder recital by Violeta Urmana accompanied on piano by Jan Philip Schulze .
The Valencia Orchestra seems lately grown
when directed by the owner outside conductors Yaron Traub. This was in the splendid 3rd Symphony of Mahler recently gave us the master Frühbeck de Burgos , and again it happened again on Saturday with Miguel Ángel Gómez Martínez intelligence and emotion leading to the wonderful score composed by Francis Poulenc for opera "Dialogues of the Carmelites" , and getting to shine the rich orchestral conceived by the French composer.
Gómez Martínez, usually given to the chaos of sound, with a neatly cared unusual volumes of the orchestra for the benefit of vocal soloists. achieved splendid
some qualifications in the most lyrical, and at the end of the first act got progressively turn off the sound of the orchestra masterfully. The last frame of the Opera, arguably one of the most powerful end of the genre, it was resolved with great skill and dramatic power, with outstanding performance orchestra and choir , although I did not like the artificial sound of the guillotine by what looked like a synthesizer amplified.
violins generally weak point of this orchestra, sounded with a filling and warmth unknown. Sorry for the persistent errors in their inputs of metals had an unfortunate night.
was a shame that the height of the musical level offered not just correspondence found in a very irregular vocal ensemble.
Valencia
soprano Isabel Monar faced the demanding role of Blanche de la Force . Impeccable character's dramatic appearance, showed some limitations in vocal and some technical failure, but defended the role with courage, going from less to more and the end result being very positive.
The big winner of the night, however, was the German soprano Iris Vermillion , whose dark voice, powerful and deep voice exuded authority as Mother Marie . I also liked
Kathryn Harries as the old Prioress
Madame de Croissy . I recognize your voice is cascadísima , but the character dying is not bad the vocal decline and also the tremendous strength of expression exhibited Harries to me more than offset any shortcomings. More unfortunate were
Janice Watson, who was a squeaky Madame Lidoine, and Argentina's Maria Cristina Kiehr as Constance, who, despite their light timbre suited the character, with its fixed sounds cries became unbearable and interventions.
male cast, only saved from burning the most correct Marquis de la Force of Anthony Michaels-Moore and tenor Roger Padullés Barcelona, \u200b\u200b
as Force Knight, who wore a beautiful timbre and much like in his song, with emphasis on the duo the second act with Blanche.
Extraordinary performance was Cathedral Coral reefs in their interventions, whose components we could see Irina Ionescu, who I highlighted recently in his small operation in "1984" , and here we just hear in one sentence alone. More controversial was the selection of soloists of the group.
The public is noted for his desertion too soon and the noise problems that accompanied at all times the performance, culminating in a mobile phone on the final leg of the third act starred in a few terrifying seconds that led even an angry gesture Martínez Gómez teacher.
Here's the end of "Dialogues of the Carmelites" Met production in 1987 with Jessye Norman as Madame Lidoine and Maria Ewing as Blanche de la Force :
video
tenore23
The next day, a room with too many holes for the quality of the show was announced, received the Violet Urmana Lithuanian and German pianist Jan Philip Schulze .
The concert was a first part devoted to Gustav Mahler , with a selection
"Des Knaben Wunderhorn" and "Rückert Lieder" . From the beginning it showed the main virtues of the singer, who did enjoy a careful and thoughtful reading of the selected pieces. Its extensive voice, smooth and uniform in all registers and generous volume, and power running smoothly, but always wisely tamed to suit the intimate nature that should characterize a recital of this kind, despite the undeniable vocal power of the interpreter.
The excitement come with all its intensity in the beautiful "Rückert Lieder" , especially in a splendid "Ich bin der Welt gekommen abhanden" where Urmana wonderful phrasing and intensity piano accompaniment, put hair-raising of an auditorium, with the last note of "Um Mitternacht" , broke into enthusiastic bravos.
The second part of the concert began with two songs from Henry Duparc, "Phydilé" and "Chanson triste" , Lithuanian singer who performed with a correction and impeccable style.
After that, he faced a selection of songs from Sergei Rachmaninov , carrying out a genuine display of fiery expressiveness "Dissonance" (opus 34, No. 13) and a singing lesson linked and nuanced "zdes' khorosho" (Opus 21, No. 7).
When it looked like there could sing better, came four songs from Richard Strauss to compose his opus 27, where her vocal virtuosity and interpretive height reached perfection, giving us a "Morgen" majestic, sweeping, where he learned to play also rests on a teacher.
The tips section began with an electrifying "Der Engel" of "Wesendonck Lieder" of Richard Wagner , followed with a spectacular "Zueignung" of Richard Strauss and finished with an impressive "the
Mamma Morta " of" Andrea Chenier "Giordano of where here do that and put aside the restraint and intimacy, to give vent to all his vocal strength and dramatic in a real storm of emotion that put the room upside down.
is regrettable that the usual rush of some to run to the first "chim-pom" , prevent further encores. We will have to someday tell them of the restless ass, is a lie that should have told them that the last to leave paid to the orchestra and singers. The thing with the crisis is bad, but not Therefore, man.
In any case, nothing could deprive a truly magical night where we enjoyed the interpretation of a artistazo greatness.
Meanwhile, in Les Arts, musicians and the choir sang the "Happy Birthday" to Lorin Maazel farewell.
Finally I leave you with Violeta Urmana singing "Ich bin der Welt gekommen abhanden" of "Rückert Lieder Gustav Mahler of :
video
of operazaile
offered, in concert, opera Francis Poulenc Dialogues of the Carmelites " With the Orchestra of Valencia directed by who owned them years ago, Miguel Ángel Gómez Martínez . And the next day we expected a lieder recital by Violeta Urmana accompanied on piano by Jan Philip Schulze .
The Valencia Orchestra seems lately grown
when directed by the owner outside conductors Yaron Traub. This was in the splendid 3rd Symphony of Mahler recently gave us the master Frühbeck de Burgos , and again it happened again on Saturday with Miguel Ángel Gómez Martínez intelligence and emotion leading to the wonderful score composed by Francis Poulenc for opera "Dialogues of the Carmelites" , and getting to shine the rich orchestral conceived by the French composer. Gómez Martínez, usually given to the chaos of sound, with a neatly cared unusual volumes of the orchestra for the benefit of vocal soloists. achieved splendid
some qualifications in the most lyrical, and at the end of the first act got progressively turn off the sound of the orchestra masterfully. The last frame of the Opera, arguably one of the most powerful end of the genre, it was resolved with great skill and dramatic power, with outstanding performance orchestra and choir , although I did not like the artificial sound of the guillotine by what looked like a synthesizer amplified. violins generally weak point of this orchestra, sounded with a filling and warmth unknown. Sorry for the persistent errors in their inputs of metals had an unfortunate night.
was a shame that the height of the musical level offered not just correspondence found in a very irregular vocal ensemble.
Valencia soprano Isabel Monar faced the demanding role of Blanche de la Force . Impeccable character's dramatic appearance, showed some limitations in vocal and some technical failure, but defended the role with courage, going from less to more and the end result being very positive.
The big winner of the night, however, was the German soprano Iris Vermillion , whose dark voice, powerful and deep voice exuded authority as Mother Marie . I also liked
Kathryn Harries as the old Prioress
Madame de Croissy . I recognize your voice is cascadísima , but the character dying is not bad the vocal decline and also the tremendous strength of expression exhibited Harries to me more than offset any shortcomings. More unfortunate were Janice Watson, who was a squeaky Madame Lidoine, and Argentina's Maria Cristina Kiehr as Constance, who, despite their light timbre suited the character, with its fixed sounds cries became unbearable and interventions.
male cast, only saved from burning the most correct Marquis de la Force of Anthony Michaels-Moore and tenor Roger Padullés Barcelona, \u200b\u200b
as Force Knight, who wore a beautiful timbre and much like in his song, with emphasis on the duo the second act with Blanche. Extraordinary performance was Cathedral Coral reefs in their interventions, whose components we could see Irina Ionescu, who I highlighted recently in his small operation in "1984" , and here we just hear in one sentence alone. More controversial was the selection of soloists of the group.
The public is noted for his desertion too soon and the noise problems that accompanied at all times the performance, culminating in a mobile phone on the final leg of the third act starred in a few terrifying seconds that led even an angry gesture Martínez Gómez teacher.
Here's the end of "Dialogues of the Carmelites" Met production in 1987 with Jessye Norman as Madame Lidoine and Maria Ewing as Blanche de la Force :
video
tenore23
The next day, a room with too many holes for the quality of the show was announced, received the Violet Urmana Lithuanian and German pianist Jan Philip Schulze .
The concert was a first part devoted to Gustav Mahler , with a selection
"Des Knaben Wunderhorn" and "Rückert Lieder" . From the beginning it showed the main virtues of the singer, who did enjoy a careful and thoughtful reading of the selected pieces. Its extensive voice, smooth and uniform in all registers and generous volume, and power running smoothly, but always wisely tamed to suit the intimate nature that should characterize a recital of this kind, despite the undeniable vocal power of the interpreter. The excitement come with all its intensity in the beautiful "Rückert Lieder" , especially in a splendid "Ich bin der Welt gekommen abhanden" where Urmana wonderful phrasing and intensity piano accompaniment, put hair-raising of an auditorium, with the last note of "Um Mitternacht" , broke into enthusiastic bravos.
The second part of the concert began with two songs from Henry Duparc, "Phydilé" and "Chanson triste" , Lithuanian singer who performed with a correction and impeccable style.
After that, he faced a selection of songs from Sergei Rachmaninov , carrying out a genuine display of fiery expressiveness "Dissonance" (opus 34, No. 13) and a singing lesson linked and nuanced "zdes' khorosho" (Opus 21, No. 7).
When it looked like there could sing better, came four songs from Richard Strauss to compose his opus 27, where her vocal virtuosity and interpretive height reached perfection, giving us a "Morgen" majestic, sweeping, where he learned to play also rests on a teacher.
The tips section began with an electrifying "Der Engel" of "Wesendonck Lieder" of Richard Wagner , followed with a spectacular "Zueignung" of Richard Strauss and finished with an impressive "the
Mamma Morta " of" Andrea Chenier "Giordano of where here do that and put aside the restraint and intimacy, to give vent to all his vocal strength and dramatic in a real storm of emotion that put the room upside down. is regrettable that the usual rush of some to run to the first "chim-pom" , prevent further encores. We will have to someday tell them of the restless ass, is a lie that should have told them that the last to leave paid to the orchestra and singers. The thing with the crisis is bad, but not Therefore, man.
In any case, nothing could deprive a truly magical night where we enjoyed the interpretation of a artistazo greatness.
Meanwhile, in Les Arts, musicians and the choir sang the "Happy Birthday" to Lorin Maazel farewell.
Finally I leave you with Violeta Urmana singing "Ich bin der Welt gekommen abhanden" of "Rückert Lieder Gustav Mahler of :
video
of operazaile
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