Art

Clouds, oranges, fountains

Clouds, oranges, fountains

Pablo Ferrandes and Thomas Sondergaard ,. Photo – Alexander Kurov / Center for Opera Singing G. Vishnevskaya

The 9th International Festival of Mstislav Rostropovich traditionally opened on the birthday of the maestro – March 27, 2018.

The program consisted of five notable concerts and the presentation of the film “Invincible Bow” attached to them.

Among the valley is flat

Rostropovich Festival is included in a few of those that originated in Russia in more “full” for the culture of the times. Then, even the enthusiastic organizers and sponsors, their programs were completely attractive.

Take at least the Moscow Easter or the “Cherry Forest”. Great artists came, big projects were being prepared, sensation behind the sensation – PR people did not have time to accredit journalists.

Thank you, the announcement is hidden.
Thank you, the announcement is hidden.

And what? There remains, perhaps, the only one that staunchly preserves its brand. At least because only Olga Rostropovich can afford to bring whole orchestras to Moscow. (Over the years, it was performed by 32 orchestras, 93 soloists, 12 choirs and 33 conductors.)

Another striking feature: all the guest performers try as if Rostropovich himself invited them, as many even performed with him. And nothing overshadows the mood with which they enter the stage, decorated with a portrait of a man who taught the world lessons not only of daily painstaking service to art, but also of the highest civic courage.

The program looked, as always, impressively.

Clouds, oranges, fountains

Prokofiev mystical

The Berlin Radio Symphony Orchestra. The soloist is Pablo Ferrandes. BZK.

Opening the festival was possible in all respects. The first concert was entirely given to Prokofiev (in March, 65 years from the day of his death).

“Dad bowed before him. And for a long time he was the only performer of his Symphony-concert, on the notes of which Prokofiev wrote: “In memory of the joint works on the Concerto,

– says Olga.

… Try to explain to a non-musician what the mystical concept of “sound” means (the sound image of a high-profile orchestra, recognizable by ear, although this, of course, is half the myth). And yet the notion arose not in vain, which was immediately confirmed by the Berliners, starting the suite from the opera “Love for Three Oranges”.

From the very first bars the orchestra sounded, as if not in the Great Hall of the Moscow Conservatory, but as if it brought with it the air and acoustics of some other hall!

In six symphonic pictures, presented not only masterfully, but also witty and simply sharp (conducted by Thomas Sondergaard, Denmark), violent artistic fantasy and sound ingenuity of Prokofiev played with dull colors.

The symphony-concert, the composition is not the most popular, the Spanish soloist Pablo Ferrandes, the pupil of Natalia Shakhovskoy (that is the musical “grandson” of Rostropovich) warmed up her playing.

Lucky 26-year-old cellist with his own handwriting, while his manner is extremely non-aggressive. The second part was even better than the others – not only the soloist, but also the orchestra. Agree, there is always the aftertaste of the other world, when, without looking at the scene, you stop distinguishing the brass from the strings. This flute came on piano or violin? ..

Thank you, the announcement is hidden.
Thank you, the announcement is hidden.

A light madness disappears when a solo violon violates an ensemble charm, breaks out of the thick of the orchestra and draws its path with a willful chisel.

It’s funny, but it was in the second part of the hall that Prokofiev’s spirit was hoarse: the second amphitheater (blue light) was suddenly turning and the side lights above the stage (yellow). Portraits of composers were chaotically displayed. Maybe this is an original lighting design, a gift of the conservatory to the festival?

However, the mischief of the astral forces ceased as unexpectedly as it began. Only in the third part of Prokofiev vulgar theme is very actual jabbered over the part of the stalls, which so stubbornly clapped between the parts.

Encore the cellist added a quiet solo – “Song of the birds” Casals, holding the bow on the last note for as long as you could inspire the audience that the sound is still audible. So the musician paid tribute to the victims of the fire that happened on the eve of Kemerovo.

Colorful evening ended with the Seventh, the last, Symphony Prokofiev. Well, I was once again convinced that, apparently, the luxurious “Soviet” theme, which the author had saved for a long time, sounds even better than Kabalevsky, but worse than Dunayevsky. In the last two parts, the orchestra, apparently disappointed by the fact that in the breaks some hysterics continue to clap enthusiastically, a little sour.

By the way, since September 2017 the orchestra was headed by Vladimir Yurovsky. This musicians will not sour under any circumstances. And, perhaps, the next meeting with the Berliners in Moscow is not far off, with an even rarer program.

A sample of bourgeois elegance

Chamber orchestra “Vienna – Berlin”. The soloist is Rudolf Buchbinder. BZK.

“Elegant”, in the words of Olga Rostropovich, a concert of soloists of the Philharmonic Orchestras of Vienna and Berlin could be recommended primarily to students of music colleges.

In Haydn and Mozart, a degree of teamwork was demonstrated that it was even thought: it was because of the absence of this that the chamber compositions began to go out of fashion, starting the trio and finishing with compositions of 13-18 people (like that).

The concert turned out to be not only “elegant”, but, I would say, typically bourgeois: everything is very diligent and decent. The mosquito does not undermine the nose – but why is it so offensive for the “Little Night Serenade”?

Concert № 9 performed by Buchbinder (just from an airplane), appreciated for pure Viennese style, sounded even over-academic – the result of excessive concentration due to lack of rehearsal. In general, Mozart, who does not cease to watch us, this evening, invisibly slipped somewhere along the side foyer and disappeared without a trace.

Better was the case with the D-Day Haydn Concerto, a hit of all time and people, which revived the hall with healthy playfulness, which Buchbinder did not stint on a little.

Listening to the last issue – Mozart’s Symphony No. 29, I drew the notebook page into two incongruous parts. Left wrote “transparent composition with increased responsibility”, on the right – “background music for dinner parties”. Also began to put crosses.

The left half, still six crosses outweighed: the ensemble slashed a slender piano and especially pianissimo – true, on the verge of narcissism. And the buzzing of the divine spindle in the final Allegro con spirito led to true delight.

Scriabin drooping

Russian National Orchestra. The soloist is Mikhail Pletnev. BZK.

In the right to be considered as the standard interpreters of Russian symphonic music, RNO Pletneva and Fedorenko’s BSO compete with us. With one condition: when such programs are conducted by Mikhail Vasilyevich and Vladimir Ivanovich themselves.

The unique property of the RNO mimicry under the conductor, listening to every impulse of his psychic energy, was clearly manifested in the Russian program of the festival. Faced by a remote Italian Pierre Carlo Orizio, a musician, inwardly little artistic, was rude in both “Tchaikovsky’s Romeo and Juliet” and Rimsky-Korsakov’s Scheherazade.

Every now and then it seemed that the RNO had been replaced by the Orchestra of the Defense Ministry in an expanded format and with distraught plates – forte sometimes rattled unacceptably. Solo fragments of the coryphaeus were actually hammered and swept away; the violin of Alexei Bruni in “Scheherazade” rather whistled than sang.

Scriabin’s Concert was not asked. In 2015, his performance at the Big RNO festival was a tremendous, unforgettable event. This time they announced that the composition would be heard in the editorial office of Pletnev himself (the finer points could be more appreciated by Andrei Korobeinikov or Galina Chistyakova).

Either Mikhail Vasilyevich hone his editorial staff, or the conductor who wastefully devoured the best skills of the RNO, or Pletnev simply “did not go on foot,” was not nice to him, but Skryabin sounded openly formal.

Hands with great accuracy lay on the keyboard, watching – it’s a pleasure. But there was almost nothing to listen to. As in the January Rachmaninov program, the genius pianist seemed to forget about us sinners who are looking for his consolation and the hidden meaning of music.

But still he gained a great success and played an encore for the mournful “Gray Clouds” of the late Liszt as a precursor to Scriabin. It was the best concert number: at least the person said directly what he wanted.

Clouds, oranges, fountains

Fountains and pines

Ottorino Respighi, “Roman trilogy”: “Roman festivals”, “Fountains of Rome”, “Pinnias of Rome”. The State Kremlin Palace.

The Grand Symphony Orchestra (Fedoseevsky) sat on the stage behind a transparent curtain; monstrous barn sounding killed both the sound of the BSO as a whole, and the entire sound of Respighi in particular.

The promised 3D image resulted in computer tricks with the participation of the company of athletic mimes, in the measure of their modest abilities personifying Fire and Water and representing the revived Roman statues.

Eventually, the pines also revived: they resolutely marched along the Appian Way, as if in the cartoon “In the Country of Unlearned Lessons” about the sergeant Vita Perestukine – under the marvelous solemn finale of the “Pinnacles of Rome”.

Multimedia presentation of the director Carlos Padrissa inherited from the Palace of Arts of Queen Sofia and the opera house in Terma Caracalla. But, no matter how funny, not more virtual gladiators the size of a house were more impressed, but the sea of ​​twinkling yellow lights on a dark scene behind a muslin: this usually lies downstairs before the travelers a big city during the landing of an airplane in the evening hours.

And this only burned working bulbs on the SSR consoles under the control of Spaniard Antonio Mendez, who vainly tried to impress the five thousand spectators with the rich orchestra Respighi.

Clouds, oranges, fountains

There is still something clean

Presentation of the film by Bruno Monsenjon “Rostropovich. Indomitable bow. ” The Galina Vishnevskaya Opera Center.

It is not often that you see such guests at the same time: Naina Yeltsin and Natalia Solzhenitsyna were sitting in a box next to Olga Rostropovich. Bruno himself came to represent his documentary. He already showed it in Paris, Milan and New York; received his award at the Montreal Film Festival. It has a lot of archive video, there is also a unique, still not publicized exclusive shot.

Thank you, the announcement is hidden.
Thank you, the announcement is hidden.

Monsenjon grieved that 80 minutes of the film are crumbs, because every episode deserves a one-hour story. After all, not only the game of Rostropovich (and music sounds all the time), but his fine speech I want to listen and listen:

“When I play, even if something does not work out for me, I immediately forget and think: Well, what a beautiful place now!”

No wonder Yehudi Menuhin in the painting says:

“Listening to Rostropovich, the public felt that there was still something pure in this corrupt world”.

Bruno believes that a good documentary is emotionally as effective as an artistic documentary. Still, if we are talking about a giant personality with a biography that no Hollywood screenwriter could have invented! And its worthy continuation is the spring festival every year, revealing new names, orchestras and music.

Clouds, oranges, fountains

Clouds, oranges, fountains

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