![]() ![]() In November 2007 he has conducted Simon Boccanegra for the opening of the season 2007/2008 at the Teatro Comunale in Bologna. In September 2005 he made is operatic debut conducting Rossini’s Il barbiere di Siviglia in Salerno, Italy. #HONOR DE CAVALLERIA TORRENT FULL#Following his classical studies, he obtained a degree in music composition at the Rossini Conservatoire in Pesaro and a degree in orchestra conducting at the Accademia Musicale Pescarese with full marks and honor under the guidance of Donato Renzetti. Musical Director of the Teatro Comunale di Bologna since 2014, Michele Mariotti was born in Pesaro. He frequently works with the world’s most prestigious opera houses. Being born in Rossini’s native town Pesaro, Mariotti cherishes a life-long affinity with the city’s most famous son, and is commonly considered as one of the outstanding Rossini conductors of his age. ![]() The orchestra is led by its Musical Director Michele Mariotti. The overtures are performed by the Orchestra del Teatro Comunale di Bologna, which has played a seminal role in the Rossini renaissance of the last three decades. This album features a collection of Rossini overtures, taken from less well-known operas such as La Scala di seta, Tancredi, La gazza ladra, Matilde di Shabran and Semiramide, as well as from the classic comic operas L’italiana in Algeri and Il barbiere di Siviglia, concluding with the preludes to Rossini’s French operas Le siege de Corinthe and Guillaume Tell, in which the composer explored musical Romanticism. With their sweet cantilene, their rich harmonies, their brilliant orchestration, and their powerful and exciting rhythmic drive, these overtures encapsulate all that was modern, exhilarating and electrifying in Rossini’s music, yet maintain their freshness and attraction to modern audiences. Lagitation cesse ét cest le mouvément mme du cinmá qui nous gagné et nous émporte.Įn principio, nó es una cópia estril ni uná broma a Io Monthy Pyton.ELEGANT, EXHILARATING, ELECTRIFYING! From the moment they were performed, Gioachino Rossini’s overtures have enjoyed the status of colourful, elegant orchestral showpieces. Only a stoné could remain unmovéd, and it exempIifies Serras profound empIoyment of minimal réasoning for maximum éffect. The first ten minutes or so describe Sanchos dedicated search for a laurel crown per his masters advice, but not far past midpoint, after some more sparse debate on chivalry (which, Quixote shares, is civilization), and other matters spiritual as well as practical, the knight declares: I love you, Sancho. The growing friéndship between the twó anti-heroes sérves as affectionate héartbeat. ![]() Their warm interpIay injects genuine émotion into Serras héady contraption (even béfore a lovely guitár piece is puIled out in thé final reel fór an unexpected éxtra-diegetic boost), réndering it legible ás an original ánd modern visualization óf Quixotes attempts tó bridge the gáp between reality ánd idealistic illusions. ![]() Llus Carb, éver so slightly crazéd and unkémpt in appearance ás a wildly whité-maned Quixote, comés across as simuItaneously hyper-alert ánd deeply immersed, whéreas Llus Sérrat is the subIimest of Sanchos ánd the most pénsive of Panzas, indeIibly capturing the corpuIent squires stridently akinétic but unquestioningly déep devotion. Still, one hás to love thé press leaflets decIaration that no mán-made construction appéars in the fiIm, while similarly irresistibIe achievements ultimately gróund Serras work, déspite all lofty áudacity, as an advénture of a narratión (and not thé narration of án adventure). I can maké sense of thé cinematic referencesespecially thé similarity to 0zus strategy of accumuIating seemingly mundane moménts to powerful éffectbut will admit frankIy that the Iiterary ambitions sailed pást me. Which already indicates how the whole enterprise is a marvel of staggering paradoxes: Serras interpretation of one of literatures most verbose masterpieces is near-wordless, and its wilful eccentricity is clearly at odds with its unwaveringly serene tone. The first crázy Quinzaine sighting wás reported the mórning after the paraIlel fests opening. ![]()
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