Pappano and the Santa Cecilia reached an incredible degree of coordination, the musicians responding to each cue with the utmost receptivity. Sibelius' late-Romantic idiom was certainly more suited to the conductor's volcanic sensitivity, which made this interpretation no less than memorable. The tune – literally – changed once the concert entered the second half. Trifonov avoided turning them into a showcase for his virtuosity and managed to convey great emotional intensity through simplicity. In this sense, the most persuasive sections of the pianist's performance were the cadenzas. His playing was certainly not extrovert or ebullient it was rather more pensive and collected. While his was a precise and attentive rendition of the concerto, it was hard to pinpoint a peculiar interpretative lens. This was particularly evident in the first movement, whose lively pace was hampered by a tone which was dense at best, languid at worst.ĭaniil Trifonov's performance was ambivalent.
Despite the slender instrumentation, the Orchestra dell'Accademia Nazionale di Santa Cecilia felt torpid, struggling to grasp the brisk vitality of Mozart's score. Pappano's repertoire of choice rarely includes Mozart's orchestral works and his interpretation, it would seem, was based on a stylistic misunderstanding, focusing almost exclusively focused on the rotund, singable quality of the work's melodies. To be fair, we can only assume that the change of programme was not beneficial to its performers. This set a fitting, pleasant tone for the beginning of the evening.Īll the more pity, then, that the subsequent work did not meet our hopes. Starting off in an unhurried, almost grandiose manner, his conducting promptly turned vibrant and quick-paced, ably carrying the thematic discourse. Pappano took Beethoven's tempo markings to heart. Despite the favourable appraisal it received at its premiere in 1801, nowadays the composition owes most of its fame to the overture, which customarily features a slow introduction ( Adagio) followed by a vivacious fast movement ( Allegro molto con brio).
While not being Beethoven's only attempt at ballet music, The Creatures of Prometheus is the composer's most significant encounter with the genre.
0 kommentar(er)
