New York で開かれている (かつて日本でも平行して開かれていた)Mostly Morzart Festival にたいへん魅力的なスペインうまれの指揮者,Pablo Heras-Casado と Starry Violinist, Joshua Bellが登場して,たいへん人気と評価を集めたようです.
ここでも Joshua Bell はone of the few reliable marquee names in classical music today.と評価されています.
それと並んで高評価なのが,An Exuberant Conductor,Pablo Heras-Casado です.まだ33歳の若さながら,トップ・ステージへの最短距離にいるのでは,と絶賛されています.acolyte of Pierre Boulez and a rising star, fresh from a headline-grabbing run of Toshio Hosokawa’s opera “Matsukaze” in Berlin and appearances at the Tanglewood and Caramoor festivals. And he was sensational.
当夜の曲目は,
Bach’s Orchestral Suite No. 4.
Bruch’s Violin Concerto No. 1 in G minor, &
Mozart’s Symphony No. 40 in G minor,
だったようですが,この2人とも,まったく素晴らしかったそうです.
これからの Pablo Heras-Casado の動向がたいへん注目されます.
Music Review
An Exuberant Conductor and a Starry Violinist
Ruby Washington/The New York Times
Mostly Mozart The conductor Pablo Heras-Casado, left, and Joshua Bell, center, at Avery Fisher Hall.
By STEVE SMITH Published: August 7, 2011
It seems entirely likely that many in the large, enthusiastic audience that turned out for a performance by the Mostly Mozart Festival Orchestra at Avery Fisher Hall on Friday night were drawn there by the starry soloist, Joshua Bell. A consistently excellent and broadly appealing violinist, Mr. Bell is one of the few reliable marquee names in classical music today.
It also seems safe to say that those audience members got more than they bargained for. Before the concert, and even more during intermission, you could hear people asking one another about the baby-faced, ebullient conductor. He was
Pablo Heras-Casado, a 33-year-old Spanish acolyte of Pierre Boulez and a rising star, fresh from a headline-grabbing run of
Toshio Hosokawa’s opera “Matsukaze” in Berlin and appearances at the Tanglewood and Caramoor festivals. And he was sensational.
Most members of a stripped-down complement from the orchestra stood for the first work on the program, Bach’s Orchestral Suite No. 4. Working without a score or a baton, Mr. Heras-Casado elicited regal grandeur in the Ouverture, genial sparkle in the inner dance movements and buoyant dash in the final Réjouissance.
Mr. Bell, at 43 a seasoned veteran, was entirely in his element with Bruch’s Violin Concerto No. 1 in G minor, a Romantic war horse refreshed and enlivened by Mr. Bell’s panache and commitment, and by Mr. Heras-Casado’s sympathetic accompaniment with the full orchestra.
Endowed with sweetly spun melodies and a bravura finale, the concerto is an unapologetic showpiece for a virtuoso performer. Hearing Mr. Bell play it, you were convinced that there was no finer, more persuasive advocate for this kind of repertory. Lawrence DiBello, the principal horn player, brought precision and gorgeous tone to luminous passages in which his lines caressed Mr. Bell’s. The audience responded tumultuously.
Concluding the concert was an account of Mozart’s Symphony No. 40 in G minor, stirring for its brisk tempos, taut rhythms, transparent textures and refined solo work by the principal winds. The finale came with an almost breathless whoosh; at one point you saw double-bass players sharing smiles after a particularly arduous passage. Still, speed and clarity never shortchanged drama.
Conducting purists enamored of the old-school motionless maestro who worked wonders with a cocked eyebrow or raised pinky might have pooh-poohed disapprovingly at the expressive, exuberant gestures and dance steps involved in Mr. Heras-Casado’s podium choreography. For everyone else the results he achieved were something to savor; you left wanting to hear him conduct more, and soon. Happily, his next appearances are scheduled for Monday night.
2011-08-09 13:43
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