Automatically translated from Basque, translation may contain errors. More information here. Elhuyarren itzultzaile automatikoaren logoa

Fresh and light

Pianissimo saioa. Euskadiko Orkestra Sinfonikoa. Musika Gela zikloaren Barruan. Gasteizko Principal Antzokia. Martxoaren 22a.
Zarata mediatikoz beteriko garai nahasiotan, merkatu logiketatik urrun eta irakurleengandik gertu dagoen kazetaritza beharrezkoa dela uste baduzu, ARGIA bultzatzera animatu nahi zaitugu. Geroz eta gehiago gara, jarrai dezagun txikitik eragiten.

The Euskadi Symphony Orchestra has been rehearsing for some time to bring classical music closer to citizenship in general and to young people in particular. For this purpose, the orchestra has a special cycle, the Music Classroom. In this cycle, aimed at the youngest, there are short and didactic sessions, in which a musical aspect and a concrete point of view are worked.

On this occasion, although the Euskadi Orchestra has brought us an interesting program, we only saw people in the Main Theatre. Pity. Under the title Pianissimo, the Orchestra has proposed to explore the qualities of the imposted female voice, and through the analysis of the voice has deepened in the nuances of music and in its specific terminology. And all of this in an hour.

The concert began with the opening of the opera Norma de Bellini. The young director Asier Puga was able to take the spark out of the orchestra. He mastered the nuances of this work, obtaining a colorful result. Next, we hear a curious piece by Mikel Laboa.Esta piece Gernika (orchestrated by Ramon Lazkano) has something about the world of Laboa, half impressionist, half dreamer. Perhaps with a brighter orchestration it would have another appeal, but the interpretation was very nice.

Aria and Kabbaletta from La Sonnambula de Bellini was the first piece of soprano Helena Orcoyen in this program. The singer had the opportunity to show the young audience the thousand difficulties and demons that are in one aria and the ability to save them. This soprano has learned the technique very well, perhaps a bit forced in some moments, but certainly effective. On the other hand, Helena Orcoyen, in addition to the technique, also showed his expressiveness, as he showed a great drama on the scene of the madness of the opera Lucía di Lammemoor de Donizetti.

The recital's guide was Ana Eguiazabal. He had scrupulously fulfilled his role, following the few scripts of Miguel Cañada. This was perhaps the weakest aspect. The scripts didn't add much, and I don't know if they were right for the audience that was there. If not, OK.


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