music
June 19, 2021 – 7:29 pm
Suddenly Trifonov can snap and those that come out of his hands are avalanches of sound
of Francesco Ermini Polacci
Heartbreaking, with grandiose speech, Zubin Mehta’s Brahms with the Maggio Orchestra. In the symphonic-concert itinerary entirely dedicated to Brahms, proposed in these days at the Teatro del Maggio, the interpretative results are alternate: not thrilling, for example, proofin Pichas Zuckerman’s Double Concerto on violin and his wife Amanda Forsyth, because he has a fuzzy sound and a weak expressiveness, and she has an air that surpasses him; all at the expense of what should be a close dialogue on equal terms. But the vision from the podium of Mehta that: a poignant Brahms, and with grandiose speech. And when the score is that of a Symphony, the backgrounds are so extended, the breath so deep, that Brahms seems to anticipate Bruckner and his solemn symphonic cathedrals.
However, it has its own charm behind Mehta’s Brahms, and it sounds so, poignant and with a grandiose speech, also in the Symphony n. 1. What the first, and very painful, feels in the genre of the Symphony by Brahms, with Mehta acquires the characteristics of a turgid, opulent melancholy; solemn, if necessary dramatic, with long times, which at times compromise the overall performance of the Maggio Orchestra. On the program there is also the Piano Concerto n. 1, originally born as a symphony and which as a symphony, in volumes and phrases, Mehta intends (and the attack of the second movement is beautiful: absorbed, like a prayer). Leaving here, in the Concerto, ample free space for the soloist, Daniil Trifonov: thirty years old, internationally acclaimed piano star, technique of great enamel, resolute attitude. He enters solid and impetuous in the first movement, his gaze very concentrated on that world of his own of black and white keys. If necessary, he also gets up from the stool, bends forward, uses his forearms to give more body to the sound. Which, it must be said, of beautiful workmanship. Leaning and thoughtful on the keyboard, Suddenly Trifonov can snap, and the ones that come out of his hands are avalanches of sound. The first movement of his own, the second (the Adagio) flows between his fingers, clean and without poetry; the last is the terrain which is most suitable for Trifonov to set out straight on the path of the most glittering virtuosity. Bis with the piano transcription of the famous choir from Bach’s Cantata BWV 147: clear and without delay. A triumph, needless to say.
The concert will be repeated on Monday 21st (ore 20), on the occasion of the Music Festival, and can also be watched (for a fee) in live streaming on the ITsART digital platform. On Sunday 20 (8 pm), May will host the violinist Frank Peter Zimmermann and the pianist Martin Helmchen: a luxury duo involved in the last three Sonatas (including the famous “A Kreutzer”) by Beethoven.
June 19, 2021 | 19:29
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