This will arguably be one of the Highlights of the Athens 2010 concert season.
The Budapest Festival Orchestra,
the Chorus of the Greek Radio/Television
and 4 gifted singers
all under the inspired baton of Iván Fischer
offered a very satisfying reading of Beethoven's 6th and an electrifying 9th.
Myrtó Papatanasiu
The concert that sold-out within the first few hours of sale (many invitations were given to sponsors though) had created high expectations and quite a queue of people begging for a ticket outside the Athens Megaron prior to the concert.
And while music-lovers were left outside waiting for tickets, more than 100 seats were left empty by the sponsors who had obviously better things to do.
Kelley O'Connor and Kristinn Sigmundsson
Beethoven's 9th meant the return to Athens of Greek soprano Myrtó Papatanasiu after a long period of absence from homeland and the debut of mezzo-soprano Kelley O' Connor (who has recorded the 9th for DG under Franz Welser-Möst), tenor Jorma Silvasti (who we love since his fantastic Laca in Janáček's Jenufa a few years ago in Vienna - a role he has also sung at the ROH and the Met) and bass Kristinn Sigmundsson.
Jorma Silvasti
And even if all 4 soloists were truly remarkable, it was Fischer, the menace, who should receive the highest of praises for this memorable experience – a brilliant reading of this colossal work, not in terms of cheap pyrotechnics and show-off but having in mind a pop approach of the masterpiece, as pop as Beethoven, as pop as his 9th: with the virtues of a rock-star, Fischer whipped up the audience’s enthusiasm who compensated the maestro and his fab orchestra with a thunderous applause.
Myrtó Papatanasiu and her fan club - backstage:
~.~
Myrtó Papatanasiu wearing Alberta Ferretti
and posing for parsifal's
~.~
The Budapest Festival Orchestra,
the Chorus of the Greek Radio/Television
and 4 gifted singers
all under the inspired baton of Iván Fischer
offered a very satisfying reading of Beethoven's 6th and an electrifying 9th.
Myrtó PapatanasiuAnd while music-lovers were left outside waiting for tickets, more than 100 seats were left empty by the sponsors who had obviously better things to do.
Kelley O'Connor and Kristinn SigmundssonBeethoven's 9th meant the return to Athens of Greek soprano Myrtó Papatanasiu after a long period of absence from homeland and the debut of mezzo-soprano Kelley O' Connor (who has recorded the 9th for DG under Franz Welser-Möst), tenor Jorma Silvasti (who we love since his fantastic Laca in Janáček's Jenufa a few years ago in Vienna - a role he has also sung at the ROH and the Met) and bass Kristinn Sigmundsson.
Jorma Silvasti
And even if all 4 soloists were truly remarkable, it was Fischer, the menace, who should receive the highest of praises for this memorable experience – a brilliant reading of this colossal work, not in terms of cheap pyrotechnics and show-off but having in mind a pop approach of the masterpiece, as pop as Beethoven, as pop as his 9th: with the virtues of a rock-star, Fischer whipped up the audience’s enthusiasm who compensated the maestro and his fab orchestra with a thunderous applause.
Myrtó Papatanasiu and her fan club - backstage:
~.~
Myrtó Papatanasiu wearing Alberta Ferrettiand posing for parsifal's
~.~
.jpg)
5 comments:
Το mannequin φοράει βραδυνό Haute couture Ferreti και κόσμημα Λαλαούνης από την ενοτητα
" Η ΧΡΥΣΗ ΑΥΓΗ ΤΗΣ ΤΕΧΝΗΣ "
Υσ/ προσέξατε την σειρά από τις γραβατες στην χορωδία?
I assisted both concerts (4th-7th was the first) and I have to admit that I was positively overhelmed.
There was nothing "pop" about maestro Fischer's approach (ALTHOUGH I undersatnd what Parsi means, by using this term). On the contrary, I would say a NO NONSENSE approach. Sense of construction, precison, virtuosity, inspirational tempos -well thought and CONSISTENT- interresting placement of the orchestra (podiums for second violins, woods etc, CHANGING from symphony to symphony), mood adapted to each piece (a sereine, appolonian 4th and a luscius, sharp 7th etc). The 9th was even more impressive, although the first two parts could be defined as "too harsh" (personnal taste); the 3rd was positively ecstatic, out of this world, and the finale just exciting, although the local choruses could and SHOULD do better. The soloists, placed amid the musicians,between horns and timpani, rising from their seats only to sing, were parts of an ensemble and did a fine job.
Although Fischer has a very, very good orchestra in his hands (THOSE FLUTES AND OBOES AND CLARINETS!!!) there was nothing viruosistic and self-serving in his conducting, a la Escenbach (in his recent 3rd with the Parisians, last month).
With the Petersburgians, earlier this season, those were DEFINATELY the best concerts of the season so far. Can Muti and WP do better? Answer on June the 22nd!
Nice reportage Parsi. Loved the Ferretti dress of Myrto! I would have taken it for a Miyaki.
PS: NO PICS of the "Tarantulla", backstage? [private joke].
PS 2: Warmest thanks to FA. She knows why...[even more private]
Δυστυχώς έχουμε φθάσει πάλι στο σημείο να πρέπει να έλθουν στην Αθήνα ξένα μουσικά συγκροτήματα για να έχουμε την ευκαιρία ν’ ακούσουμε τους Έλληνες καλλιτέχνες που διαπρέπουν στο εξωτερικό.
Πρόσφατο παράδειγμα η περίπτωση της Μυρτώς Παπαθανασίου. Η ημετέρα Εθνική Λυρική Σκηνή ανέβασε φέτος για πολλές παραστάσεις την Τραβιάτα. Δεν θα μπορούσε άραγε να προτείνει κάποιες απ’ αυτές στην Μυρτώ;;;!!! Μας στέρησε επίσης την ευκαιρία να δούμε την Δήμητρα Θεοδοσίου να ντεμπουτάρει στον Πειρατή του Bellini.
Δεν κάλεσε ποτέ την εκπληκτική Anja Harteros που όμως δεν ξεχνά την ελληνική καταγωγή της και όταν υπογράφει αυτόγραφα για την Ελλάδα τα υπογράφει και ελληνικά με το βαφτιστικό της όνομα : Σταυρούλα (Έχω στα χέρια μου ένα τέτοιο αυτόγραφο). Και πλήθος άλλες ανάλογες περιπτώσεις.
Οι αίθουσες υπάρχουν. Χορηγοί βρίσκονται. Στις καλές παραστάσεις και συναυλίες τα εισιτήρια εξαντλούνται. Τι μας λείπει άραγε;;;
Thanks for your comments,
DerWanderer, I couldn't have expressed it better, (and I was too bored to write all these too)
George,
η Μυρτώ ήταν να τραγουδήσει στον Ντον Τζοβάννι φέτος στην Αθήνα αλλά η ΕΛΣ ακύρωσε τις παραστάσεις. Το ίδιο κ η Δήμητρα που θα ντεμπουτάριζε την Ιμογένη της. Δυστυχώς οι ευκαιρίες το να εχουμε τους εκπληκτικούς έλληνες τραγουδιστές που διαπρεπουν στο εξωτερικό είναι λιγοστές αλλά οι λόγοι είναι προφανείς. Η Θεοδοσίου δέσμευσε τον Απρίλη της για να κάνει την Ιμογένη κ ακόμα κ όταν αυτή ακυρώθηκε, κανείς δεν την ενημέρωσε εγκαίρως (χμμμ...μαντέψτε ποιός της προλαβε τα μαντάτα), η Μυρτώ είναι booked για τα επόμενα χρόνια επίσης κ με τον προγραμματισμό που κάνει η ΕΛΣ, μάλλον χλωμό το βλέπω να τη βλέπουμε σύντομα. Επίσης δε νομίζω οτι η ΕΛΣ έχει τα λεφτά για να φέρει τη Χαρτέρος, αν κ πολύ θα θέλαμε, οπότε είναι στη χέρι του Μεγάρου να τη φέρει...
Πάντα "ονειρευόμουν" ένα γκαλά στο Μεγαρο οπου θα μαζευόντουσαν για έναν οπερατικό μαραθώνιο όλοι οι έλληνες ή ελληνικής καταγωγής τραγουδιστές που κάνουν καριέρα στο εξωτερικό. Απο τον Τσεφίρι κ τον Αργύρη μέχρι τον Dimitri Pittas τη Reveκa Mavrovitis, τον Nicolas Phan την Harteros, και τόσοι ακόμα που αγνοούμε - κ εμείς αλλα κυριώς το Μέγαρο κ η Λυρική...
ΑΓΑΠΗΤΟΙ/ΕΣ ΜΟΥ
OI OPERATOELLHNES TOY EJVTERIKOY MAS KANOYN NA FOYSKOYNVME APO YPERHFANIA.
APO THN STAYROYLA HARTEROS MEXRI THN MARIA ZOUVES (S. MILNES third wife)ALLA MIA STIGMH.................
MIA KALLAS DEN MPORESANE NA KRATHSOYNE TA ZVA................ KAI KALA AFOY DEN MPORESES NA THN KRATHSEIS META FTIAJE ΛΕΩΦΟΡΟΥΣ FTIAJE PARKA KANE OLOYS TOYS DROMOYS POY PERPATHSE ΝΑ ΚΑΤΑΣΚΕΥΑΖΟΝΤΑΙ ΑΠΟ ΣΜΑΛΤΑ ΚΑΙ ΝΑ ΕΧΟΥΝ ΤΗΝ ΟΠΙΣΘΙΑ ΟΨΗ ΤΟΥΣ ΚΑΛΥΜΜΕΝΑ ΜΕ ΑΡΓΥΡΑ Η ΧΡΥΣΑ ΦΥΛΛΑ ΠΡΟΚΕΙΜΕΝΟΥ ΝΑ ΠΑΡΑΓΟΥΝ ΤΟ ΑΝΑΛΟΓΟ ΑΙΣΘΗΤΙΚΟ ΑΠΟΤΕΛΕΣΜΑ ΤΗΣ ΥΠΟΒΟΣΚΟΥΣΑΣ ΦΩΤΕΙΝΟΤΗΤΑΣ ΕΝΟΣ ΤΕΤΟΙΟΥ ΜΕΓΑΛΟΥ ΑΣΤΕΡΑ.
Nemo dat quod non habet.
(κανείς δε δίνει αυτό που δεν έχει)
ΕΙΝΑΙ ΛΥΠΗΡΟ!
Post a Comment