“Baroque music was the pop-rock of its time, was the place you had to be, where people would have a drink, eat, chat or bond while enjoying the music, like we do now when we go to a concert. There is a stereotype of classical music, which is perceived to be only for the upper class, but there is also a space for it to be enjoyed by younger audience», the countertenor explained to the press Jacob Joseph Orlinski just before its premiere in Peralada.
The first edition of Peralada Easter festivalan extension of the summer event that the organization is already promoting that is here to stay, was launched with the Empordà debut of the Polish performer, a whole media star of the current lyric. And it is because of his skills on stage, but also on social networks, where he shares both musical content and breakdancing ball and extreme sports.
Having just arrived from the Palace of Versailles, Orlinski and the Il Giardino d’Amore ensemble started the new spring date, which four concerts in three dayswith a musical proposal that plays a break the fourth wallcalling directly on the public to get out of the corsets and stereotypes that usually accompany the classic.
In a Carmel church full oflocal and foreign audienceOrliński and the ensemble conducted by Stefan Plewniak provided Hero!, a program of pieces by Antonio Vivaldi and Georg Friedrich Händel, two mainstays of the Baroque which, the singer assures, have a coloratura that means “a whole breakdance vocal».
The most expressive Orlinski showed off in arias like The wind blows furiously, d’Arsacewhich aroused “bravos” before the end, as desired by the singer, who asks his audience to react with spontaneity when you feel it, not when the label marks it.
The nine musicians, in turn, shone solo in pieces such as the start of the recital, the opening of The Olympiad o the cheerful of the Concerto for Violin RV 242 by Vivaldi, all played by heart, feel sheet music
Half in Spanish, half in English, the countertenor addressed the spectators to express his joy at starting the new Empordà festival. Later he would do it, Plewniak, in Catalan, due to the enthusiasm of those present.
They also aroused passions on virtuosity of the performers, especially the violinist and director of Il Giardino, a the cheerful of the Big Moguland the interpretation of I feel the breast of Justinin which the singer, all theatricality, and the musicians demonstrated a great rapport.
They would return to the bisos, with some dialogues between voice and instruments especially playful ones that raised cheers and also laughter.
Fortunately, there was no food or drink at this opera concert; nor were they heard more than whispers or praises to the performers and who knows if someone tied. But Orlinski and company convinced with an evening marked by one unsymbolized and charismatic interpretationbut always at the service of Baroque music.