The curiosity on the conductor, the departure from the summer finally resigned as artistic Director of the Berliner Philharmoniker, is also determined in this concert – although the young talent is sitting on the Podium. Kirill Petrenko has appeared with the national youth orchestra, whose sponsorship have taken over the Philharmonic. Simon Rattle had established such a direct firing contact to the young musicians, between 14 and 19 years old, the national youth orchestra named him honorary conductor. There are many good reasons for Petrenko to occur in addition to the two programs with the Philharmonic this season with the next Generation in contact.
Exciting his tour with the national youth orchestra for the 50th anniversary of the ensemble is also because it provides for the conductors is a special challenge: Petrenko is as meticulous samplers, the non-stop to hone his Interpretation of it. For a professional orchestra, the Philharmonic especially, this pursuit of a creative sting. In the role of the teacher, however, the Petrenko must align to the limitations of the white, which can give a phase of the work beginners, its Ethos. And also the Title alter that he has difficulties to let the reins sometimes loose. The assumption that Petrenko was a total control freak, has led to a classical music blog recently to the blank message that he wanted to make as a Philharmonic in-chief of no commercial recordings. Yet his Silence, he will break only at its launch at the end of April, fuelling the speculation. You named at the end of a new Celibidache, who wants to make the Philharmonic back to the art of the temple?
in the face of this not always friendly questions, it is not an easy task to make with the national youth orchestra of Station in the Philharmonie and to prove himself to the doubters that you can get with a looseness to the top. The program calls for from the first measure, an unerring feeling for the Swing. Leonard Bernstein’s Symphonic dances from “West Side Story” dance communities began to appear sipping in a Drama from hot and cold suffering. There’s circles, self-consciously hip, flashing a knife, swings, a love up to the stars. Petrenko has studied the rhythm very precisely, and resist the temptation of the console even further, to sharpen, to brittleness. His “Mambo” relies on Summary instead of Tumult, and not even trying to pretend to be South American to the instruments. The love scene breathes a tender chastity, which brings young people of embarrassment, the own Experience but also remote. As Rattle himself has made Bruckner’s ninth in the national youth orchestra of more Belly areas.
the rite of spring ventures Petrenko to rattle’s signature piece
About 80 percent of the short-term ensemble members are actually professional musicians, some even Philharmonic as principal timpanist Wieland Welzel, grateful to Konrad pats, the mascot of the national youth orchestra. With the current cast Welzel, performing as soloist in 1. Timpani Concerto by William Kraft. Today’s 95-year-old composer was a long-time timpanist of the Los Angeles Philharmonic. The concert begins without mallets, fingers, and the slowly-hardening Hand. It offers delightful tasks for Welzels young percussion colleagues – and shows precisely how Petrenko sound-spaces can illuminate. The Percussion grows into irresistible in the Orchestra, from the strings of the conductor echoes of American transzendenta listening lists, as if it were a piece of Ives. What a Balance behind this hearing is perception of sound, revealed Welzels addition, a study from our own production. There is nothing more connected and open, but only after closed Übungsraumtür sounds all of a sudden.
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season-opening Berlin Philharmonic Of pain. in Lust
Frederik Hanssen
transform After the break, the absolute spending then waits with Igor Stravinsky’s “Sacre du printemps” on the German youth orchestra, a technically capricious noise ritual, the lives of a virtuoso hardness Here, too, the comparison to Rattle is, who shaped the sound of the “rite of Spring” to be a signature piece for his powerful, virile Philharmonic orchestra-vision as well as for its work with youth. The depth of this Berlin Stravinsky-the Sounds don’t want to imitate Petrenko, on the contrary. He scans, takes caring through the intricate rhythms, sets clear dynamic highlights. His body voltage starts decreasing forces in the orchestra. The encore, an interlude from Shostakovich’s Opera “Lady Macbeth of the Mtsensk district,” Petrenko so violently in the hall the thunder of that for today, all caution and control are jubilant to forget.
