In 1707, George Friedrich Handel, a 22 -year -old radical author working in Rome, was astonished by the Vatican and the audience with “IL TRIONFO De Tempo E Del Disinganno” (Time Virtue and disappointment). It is an opera that is disguised as a preacher to circumvent the church ban on the miserable opera. The bad work is formed around the past and the present as the conflict between extravagance and holiness. The human characteristic of our obsession with beauty and commitment to the council, the early Handel masterpiece comes in time as it is.
Exactly 240 years later, another 22 -year -old Pierre Piles began the second piano. This wild and non -bad work of civilized Parisian salons with what appeared to be a transparent ugliness. However, it has been required from Sonata this complex and aggressive to seed the European Vanguard after World War II and provides a basis for music that is heading in new directions.
Police, from He died Nine years ago, it was 100 on Wednesday. Among the comprehensive celebrations of his work this season, Thomas Milan, the young and existing pianist, seized. Piano balls A series at Colborn School. The next night, crossed the street in the Walt Disney Hall of concerts, the Los Angeles Orchestra “El Trionfo” introduced to conclude the Handel Handel project, which lasted for a week, which was the first premium of French conductors and the new Emmanuel Emmanuel Heim Foundation as a collaborator in the orchestra.
What are the possibilities of these rare works that appear again? Very cool in most places but less surprising here. Boulez had close relationships with the founder of Piano Certes Leonard Stein (who presented the first Los Angeles performance in Sonata II in 1963) and with La Phil (which will celebrate Boulez next month).
In itself, Heim broke the Baroque barriers. She arrested Los Angeles The first time In 2011, he brought an unrestricted lust to Handel, and with Each consecutive appearance It has caused that the Baroque appears to be increasingly modern, and almost unpredictable like a polyise. Her appointment to the artists’ collaborators follows the opera director Yuval SharonWho was known as the name TechnicianNaming is equally suitable for them.
Nine years ago, Heim was Mosul in a very provocative launch for “IL TRIONFO” at the AIX-EN-PROVINCE summer festival that included a clip of the French Live Perform Jacques Derrida, who was sometimes accused of carrying out the literary studies by Boulez for music, and Vice Versa. Moreover, Heim “IL TRIONFO” recorded in 2004 at IRCAM, Boulez, the Computer Music Institute created in Paris.
“IL TRIONFO” Frame in the Disney Hall with individual brilliance. Handel project included three programs. At subscriber partnerships in the regular Los Angeles on the weekend from March 21 to 23, Dicksit Dominus from Bach and Dicksit Dominus conducted. This was followed by two programs with the Haïm band for Ravishing Ensample, Le Concent d’Strée. These were composed of the Rameau/Handel program, studies in the luxury Sonorites. “IL TRIONFO” finally came. La Phil, which is taking place small expenses, also flew on the Haïm choir consisting of 25 members of Paris along with eight unusual individual players.
“Decit Dominus” from Handel, who was consisting of the same year as “IL TRIONFO” and began the Haïm’s La Phil program, setting the scene. It is also thorny, especially for sacred work. It avoids a scandal, while being a attractive joy to hear and not pledge the most dangerous human desires for “IL TRIONFO”. In the Disney Hall, she offered unlimited joy. Haïm Varuosic d’Astrée is impressive. La Phil gave the best approximation to the tools of the gameplay you faced. With Bach’s Magnificat and Encore from “Happy, Happy, we must be” from “Semele” from Handel, “Dixit Dominus” Make sure that happiness prevailed. Wonderful smiles everywhere, on stage and outside.
At the next ceremony on March 25, the “Poem” from Handel “took on St. Cecilia,” a hair environment for John Dyriden, less risks, at least for anyone who has love for music. “Ode” celebrates an irresistible, irritable song and invention, and the wonder of music in all its operations and standards. Handel is happy in the flagrant trumpet, beloved flute, miracle of harmony, music ability to tame the zebra and present the detection beyond. Heim seemed to have one instructions on her group’s choir and hermers, Soprano Elsa Benoit and Tenor Eric Ferning: Finding, in all words, more than happiness.
This emotionally optimistic preparation made it looks more revolutionary with its suits to disable musical formulas as well as that psychological. Dealing with the truth and disappointment of Handel repeatedly returned to work for half a century, and was rewritten twice (the last time at the end of his life) as a “virtue of time and truth” and mature and luxurious. However, the freshness of the metaphoric boldness as a young genius looks forward to a greater importance.
The characters are beauty, pleasure, time and disappointment. Beauty is young and useless. She assures her that she can remain this way, so she may live it as well as she can. Time says not so quickly. Disappointment warns her that the way to salvation is facing the facts. It takes two hours, two hours to follow the disappointment.
But the fun cannot be defeated. She is ready for the next victim. You live at the present time and you will not let her go. Time and disappointment remains abstracts, even the point that we do not dare to deceive ourselves.
Benoit (beauite), Julia Lezhneva (Pleasure), ISTYN Davies (disappointment) and Petr Nekoranec (TIME) – presented convincing arguments. The fun is often presented as a male operator. The charming Lezhneva fun was a kind of ghost, which is a haunted roaming looking to verify her health instead of victims.
Handel wrote for fun, one of Arias, the most famous and moving, “Lascia La Spina”. Leave the fork, pronounce fun in a lament, take the rose. Handel later reused in Renaldo’s opera. Haïm moved Thursday, along with the severity of no room to excite Arias. The amazing effect of “LASCIA” from Lezhneva was the sound of a large audience that obscures awe of awe.
There is no equal in music into 22 -year -old introductory tools at the Handel and Boulez level. We are in the era of brutal turmoil, especially since we are witnessing the Silicon Valley strategies and the demolition of the federal government. Handel and Polis revealed a different strategy. Both may be aggressive in their demands that the world be ready for a new direction. But they destroyed the classic worn out structured structures in which they were studying deeply, knowing what was already what he succeeded and what he needed. They took the next step expected to where new freedom will take them. Both spent in the next half of the century developing ideas that started in these two early works, making them important, as they are still.
