Feast of the 18th century
End the 12th Great Concert of Vitoria-Gasteiz The Cycle, with a nice and somewhat intimidating session. The Helsinki Baroque Orchestra group, over the course of twenty years, offers interesting interpretations of Baroque music, elaborated, in which the special sonority of original instruments plays a major role.
This time, the Finns brought us a very attractive program. The objective of this group is, among others, to make known works of lesser known Baroque period composers. Joseph Martin Kraus (1756-1792) is a German author, although most of his work was carried out in Sweden. In this session we were able to enjoy with Helsinki some passages of the Dido and Aeneas suite (Dido and Eneas) of this composer. We found sweet music and at the same time nervous, fresh music. The combination and flexibility of the group drew attention. In the part Dans af Najader och Tritoner that was dedicated to delicacy, we heard a very transparent sound and took very well the last episode of Stormen, achieving such a difficult sound balance with the original instruments.
Then some Mozart arias were offered. Belgian soprano Sophie Karthäuser was a real luxury. His transparent voice is very suited to Mozart's music. On the other hand, the symbiosis between Karthäuser and René Jacobs is evident. They have worked together many times, which facilitates, of course, natural interpretation. We speak of poles, vincesti aria, based on the history of Dido and Eneas, passionate and musically balanced. Bella mia fiamma, addio, on the other hand, came powerful to us. It's pretty. As beautiful as this was the Aria that was interpreted in the second part: Ah perfido, by Beethoven. They both look the same. This aria is said to be an adaptation of Mozart's. Curious. In addition, the two arias were written for soprano by Josepha Dusch, who composed them twice.
To finish, the program will offer Beethoven's No. 1 concert. Symphony of minor op. 21 were interpreted. It is, at least in structure, one of the most classical symphonies of the German composer. But within this we find remarkable innovations: numerous modulations, rapid movements… Beethoven’s audible world was already there. Jacobs drove it with fresh air. Round.
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