“It is again a meeting”, was the Salzburg festival’s artistic Director Markus hinterhäuser prior to the start of the shortened festival as careful as hopeful said, “and it is precious.” Apparently he has sensed the mood – or the mood – to the music withdrawal-suffering public, which is distributed, albeit at a safe distance in the room in the form of a compulsory subject for three concerts to report on here, with more than just high-gestimmtem cheers, thanked – in particular, after the concert, the violinist Patricia Kopatchinskaja.
she opened her evening with the violin Concerto of György Ligeti and found in the Salzburg Camerata, under the direction of Ingo Metzmacher wide-awake Partner. It is more than just a guess that a previous audience – and not only in Salzburg – had discarded the seemingly in a laboratory resulting the late works of Ligeti as a modernist imposition.
thanks to the new Salzburg listeners were willing and able to experience the music, the desire of the composer accordingly, sensual, without the need for the infinitely intricate structure necessarily understand – such as the “impure” sound of natural sounds, the Music playing in Scordatura (Retuning of strings), with the resulting “contamination” of the sound; the glass and the oblique sounds of Ocarinas, and it is, therefore, of Moldova, was the Austro-Swiss violinist. She has played in the last ten, fifteen years and three – dozen world premieres and first performances. In their programmes they followed the Maxim of “the imagination to Power”, if you advanced about the of Franz Schubert as a song and a Quartet set to music the poem “death and The maiden” at the centre of a sweeping musical-meditative Collage.
with A voice reminiscent of peach skin
the prelude to an ancient, the horrors of the plague, summon is dance of death by August Nörmiger from the time around 1600. The violinist comes as a gravedigger in a black tailcoat dressed to a by the orchestra, completion of the danse macabre on the stage. Between the following, for string orchestra edited sets of Schubert’s d minor Quartet, she adds, although associative, but musically stringently – a Pavane by John Dowland and György kurtág’s “Ligatura-Message to Frances Marie” (The Answered Unanswered Question) and a Kafka-Fragment for soprano and violin. In the for string orchestra edited song “death and The maiden” is it yourself, which leads to the dialogue between the girls and the bone-man with a whisper of faint voice. It is an evening of music about music is a great Performance.
The praise, the soprano Sonya Yoncheva enchant with the most beautiful sounds, which today are experience on the Opera stage and the Podium, has earned after your under the Motto of “Renaissance” provided the program with works by Italian, English and Spanish composers of the Forte-Dacapo – a Fortissimo Dacapo even for the many, many sounds that you had endless breath, like on a flying carpet in the house for Mozart fades.
Although the Bulgarian soprano giant has in the last few years all over the world in roles such as Norma, Violetta (La Traviata), Elisabetta (Don Carlo), Tosca and sung, to show the tissue of the voice you want to speak of a peach skin – no traces of use. Whether an Aria from Alessandro Stradellas oratorio “San Giovanni Battista”, or of Francesco Cavalli’s “Serse”, if a song by Orlando Gibbons and John dowland’s “Come again, sweet love envite” – preparing their listeners for a swim in the well according to. That the most beautiful tunes are sad, you will experience a “Pièce bulgare” under the title “Zableinano mi agunce” an unforgettable feeling.
