The expression “Moment of glory” is quite . Ma i Wiener Philharmoniker diretti da Riccardo Muti nella Sesta di Čajkovskij al Großer Festspielhaus hanno reso realtà questo modo di dire.Der Standard
That the Italian conductor and the Vienna Philharmonic have been close musical friends for decades can be perceived in every note, phrase and gesture. […] Rarely can you listen to such a close, intimate, fragile and at the same time genuine “Pathétique” as under Muti.Kronen Zeitung
In this noteworthy afternoon, with incomparable mastery Muti delivers an exemplary cleared interpretation of the “Pathétique” giving moments of goose bumps.Br-klassik.de
With Boito’s overwhelming musical setting of Faust Muti sent us to the musical Heaven.
Quit at the top of your success, might have though Tchaikovsky when he decided to compose the Sixth in 1893 as his last symphonic chapter. Barely nine days after the premiere came also the closing chapter of his life, at only 53.
The work in four movements owes its epithet “Pathétique” to all sorts of emotional charging due to those facts and has also the double meaning of a requiem. Yet keeps Muti well away from such emotionalism and through the two first movements sends the “Wiener” to a solemn funeral procession shining with an elegant reserve.Austria Presse Agentur
[…] Have you ever heard of a program beginning with Tchaikovsky 6, rather than ending with it? I had not. An innovation. […]
I would like to end on an actuarial note – but not a macabre one, I don’t think. I had a thought when Muti was conducting the children’s choir [in Boito’s Prologue to Mefistofele, Ed.] A few of them will live into the twenty-second century. And then will be able to say that they sang under Muti, born in 1941 – some of whose teachers were born in the nineteenth century. The continuity of music: a blessed thing.Jay Nordlinger, newcriterion.com
© Marco Borrelli – Salzburger Festspiele