{"id":10981,"date":"2020-02-17T17:06:35","date_gmt":"2020-02-17T16:06:35","guid":{"rendered":"https:\/\/www.riccardomuti.com\/?p=10981"},"modified":"2021-06-01T08:39:39","modified_gmt":"2021-06-01T06:39:39","slug":"florida-tour-2020","status":"publish","type":"post","link":"https:\/\/www.riccardomuti.com\/en\/2020\/02\/17\/florida-tour-2020\/","title":{"rendered":"Florida Tour 2020"},"content":{"rendered":"

Go to the photo gallery<\/a><\/span><\/p>\n

Muti & Chicago or Immanent Magic<\/strong><\/h3>\n

\u2013 by Sebastian Spreng | February 12, 2020<\/p>\n

Translation by G. Mu\u00f1oz K\u00fcster<\/p>\n

For the second consecutive year the\u00a0Adrienne Arsht Center Classic Series\u00a0had the cunning and privilege of receiving the\u00a0Chicago Symphony Orchestra<\/strong>\u00a0led by the legendary Riccardo Muti, an unbeatable combination nowadays. The top orchestra west of the Atlantic (with just two or three rivals on the other side of the pond) under the leadership of the last representative of a glorious lineage dating back to Arturo Toscanini, show absolute affinity and consubstantiation, here the chemistry between Europe and America works unbeatable, healthy and renewed. At his illustrious seventy-eight years, the charismatic Neapolitan master offered a model concert reviving his unquestionable versatility, his musical and scenic authority, his tight control of musicians and audiences (it was enough to move two fingers elegantly unparalleled to silence a glimpse of applause inopportune between movements) to lead the musical discourse towards a state of grace of an orchestra possessing a unique sound, as well as a large part of the audience. And what was outlined as “the concert of the year”, was left an indelible mark.<\/p>\n

Since the time of Georg Solti, the overture of\u00a0The Flying Dutchman<\/em><\/strong>\u00a0<\/em>has been synonymous with the CSO and the ideal presentation of a famous ensemble for its metals that thundered sovereigns in the Knight Hall. Less impulsive than the Hungarian, more resounding and truthful, the fierce leader of the “come scritto” delivered a Wagnerian reading as perfect as it would have to be the whole evening balancing the silky astringency of the strings subtly interwoven with the blinding power of the bronzes.<\/p>\n

It was followed by a sadly less frequently performed work that in his hands was the revelation that must be, the Mathis der Maler<\/em><\/strong> that Paul Hindemith composed in 1934 at the request of director Wilhelm Furtw\u00e4ngler in full assumption of Nazism about Matthias Gr\u00fcnewald (1476-1528) author of Wonderful\u00a0Altar of Isenheim, and\u00a0<\/em>whose existential dilemma found obvious echo in the composer and so many others.\u00a0Tormented between art and politics, these symphonic interludes that serve as a gateway to the homonymous opera, summarize the struggle to express themselves freely in an unfortunate climate of turbulent repression. Divided into three “tableaux” – Angelic\u00a0Concert, <\/em>Entombment\u00a0and\u00a0The Temptation of Saint Anthony\u00a0– it seems incredible that this mystical, sublime triptych was labeled a \u201cdegenerate\u201d by the Nazis motivating a major scandal that led to the director’s resignation – he had defended it in the article\u00a0The Hindemith case<\/em>\u00a0– and the consequent exile of the composer. Extraordinary piece of musical goldsmithing, in the triumph of grace that culminates with the medieval Gregorian sequence of Corpus Christi, the orchestra literally transformed into a pipe organ shaped an amazing sound cathedral favored by the great acoustics of the Knight Hall.<\/p>\n

In the second half, Muti did magic again by greening the laurels of the popular\u00a0Ninth Symphony – from the New World<\/em><\/strong>– of Dvorak with a reading overflowing with exemplary lyricism, illuminating unknown corners, imbued in equal parts with fervor and accuracy. Severe but affable, Muti created an immense fabric carefully and impeccably woven to show off each section of the orchestra again demonstrating its chameleonic stylistic versatility. A version as refreshing as unforgettable that was justly lauded.<\/p>\n

As an encore, no less exciting because it was the same last year, as a genuine testimony of his unfailing, visceral love for opera, the Italian titan performed the brief\u00a0Intermezzo<\/em>\u00a0from\u00a0Fedora<\/em><\/strong>\u00a0by Giordano drawn with infinite sweetness and twilight, perhaps a tacit tribute to one of the last roles of the recently deceased Mirella Freni, ” <\/em>this Amor ti vieta, <\/em>is much more suitable for this orchestra \u00a0than for the tenors for which it was written,“<\/em>\u00a0joked\u00a0the Maestro. Said and done, the orchestra “sang” it like no other and the closing provided an unusual and comforting Mediterranean warmth.<\/p>\n

It cannot be over-emphasized that it was a lesson from every point of view. This is how a concert should be, that’s how music is made, that’s how you educate yourself, that’s how you entrance the audience. Muti and the CSO reconfirmed that the model is not outdated, that it does not need attachments, concessions or superfluous dawns, when things are done as it should, all is said: music is enough. Thank you\u00a0maestrissimo<\/em>, thank you, Chicago. Come back soon.<\/p>\n

Sebastian Spreng, Miami Cl\u00e1sica<\/em>, February 12, 2020<\/p>\n

Original article:<\/p>\n

Muti & Chicago o La Magia inmanente<\/strong><\/h3>\n

Por segundo a\u00f1o consecutivo la\u00a0Serie Cl\u00e1sica del Adrienne Arsht Center<\/span>\u00a0tuvo la astucia y privilegio de recibir a la\u00a0Chicago Symphony Orchestra<\/strong>\u00a0capitaneada por el ya legendario Riccardo Muti, hoy por hoy una combinaci\u00f3n imbatible. La m\u00e1xima orquesta al oeste del Atl\u00e1ntico (con apenas dos o tres rivales al otro lado del charco) bajo el liderazgo del \u00faltimo representante de una estirpe gloriosa que se remonta a Arturo Toscanini evidencian una afinidad y consustanciaci\u00f3n absolutas, aqu\u00ed la qu\u00edmica entre Europa y Am\u00e9rica funciona irrebatible, sana y renovada. A sus briosos setenta y ocho a\u00f1os, el carism\u00e1tico maestro napolitano ofreci\u00f3 un concierto mod\u00e9lico reviviendo su indiscutible versatilidad, su autoridad musical y esc\u00e9nica, su f\u00e9rreo control de m\u00fasicos y p\u00fablico (le bast\u00f3 mover dos dedos con elegancia sin par para silenciar un atisbo de aplauso inoportuno entre movimientos) para conducir el discurso musical hacia un estado de gracia de una orquesta poseedora de un sonido \u00fanico as\u00ed como gran parte de la audiencia. Y\u00a0aquello que se perfilaba como \u201cel concierto del a\u00f1o\u201d, lo fue dejando una impronta indeleble.<\/p>\n

Desde tiempos de Georg Solti, la obertura de\u00a0El holand\u00e9s errante<\/strong>\u00a0<\/em>ha sido sin\u00f3nimo de la CSO y plato presentaci\u00f3n ideal de un ensemble c\u00e9lebre por sus metales que atronaron soberanos en el Knight Hall. Menos impulsivo que el h\u00fangaro, mas rotundo y veraz, el feroz adalid del \u201ccome scritto\u201d entreg\u00f3 una lectura wagneriana tan perfecta como habr\u00eda de ser toda la velada balanceando la sedosa astringencia de las cuerdas sutilmente entretejidas con el poder\u00edo enceguecedor de los bronces.<\/span><\/p>\n

Le sigui\u00f3 un obra lamentablemente poco frecuentada que en sus manos result\u00f3 la revelaci\u00f3n que debe ser, la\u00a0Sinfon\u00eda Mat\u00edas el pintor\u00a0<\/strong><\/em>que Paul Hindemith compuso en 1934 a instancias de Wilhelm Furtw\u00e4ngler en plena asunci\u00f3n del nazismo sobre Matthias Gr\u00fcnewald (1476-1528) autor del maravilloso\u00a0Altar de Isenheim, y\u00a0<\/em>cuyo dilema existencial hall\u00f3 obvio eco en el compositor y tantos otros.\u00a0Atormentado entre arte y pol\u00edtica, estos interludios sinf\u00f3nicos que sirven de p\u00f3rtico a la \u00f3pera hom\u00f3nima, resumen la lucha por expresarse libremente en un aciago clima de turbulenta represi\u00f3n. Dividida en tres \u201ctableaux\u201d-\u00a0Concierto ang\u00e9lico, Entierro<\/em>\u00a0y\u00a0La tentaci\u00f3n de San Antonio<\/em>\u00a0\u2013 parece mentira que este m\u00edstico, sublime tr\u00edptico fuera etiquetado de \u201cdegenerado\u201d por los nazis motivando un esc\u00e1ndalo may\u00fasculo que llev\u00f3 a la dimisi\u00f3n del director \u2013 lo hab\u00eda defendido en el sonado escrito\u00a0El caso Hindemith<\/em>\u00a0\u2013 y el consecuente exilio del compositor. Extraordinaria pieza de orfebrer\u00eda musical, en el \u00a0triunfo de la gracia que culmina con la secuencia gregoriana medieval del Corpus Christi, la orquesta literalmente transformada en \u00f3rgano tubular plasm\u00f3 una asombrosa catedral sonora favorecida por la amplia ac\u00fastica del Knight Hall.<\/span><\/p>\n

En la segunda mitad, Muti volvi\u00f3 a hacer magia reverdeciendo los laureles de la popular\u00a0Novena Sinfon\u00eda -del Nuevo Mundo<\/strong><\/em>\u2013 de Dvorak con una lectura rebosante de lirismo ejemplar, iluminando rincones desconocidos, imbu\u00edda en partes iguales de fervor y exactitud. Severo pero afable, Muti cre\u00f3 un inmenso tapiz tejido minuciosa e impecablemente para lucimiento de cada secci\u00f3n de la orquesta volviendo a demostrar su camale\u00f3nica versatilidad estil\u00edstica. Una versi\u00f3n tan refrescante como inolvidable que result\u00f3 justamente ovacionada.<\/span><\/p>\n

Como bis, no por tratarse del mismo del a\u00f1o pasado result\u00f3 menos emocionante, genuino testimonio de su inclaudicable, visceral amor por la \u00f3pera, el tit\u00e1n italiano regal\u00f3 el breve\u00a0Intermezzo<\/em>\u00a0de\u00a0Fedora<\/strong><\/em>\u00a0de Giordano trazado con infinita dulzura y luz crepuscular, quiz\u00e1s un t\u00e1cito homenaje a uno de los \u00faltimos personajes de la\u00a0recientemente fallecida Mirella Freni,\u00a0\u201ceste Amor ti vieta, suele quedarle mucho mejor a esta orquesta que a los tenores para los que fue compuesta\u201d<\/em>\u00a0brome\u00f3 el maestro. Dicho y hecho, la orquesta la \u201ccant\u00f3\u201d como ninguno y el regreso a casa provey\u00f3 una tan ins\u00f3lita como reconfortante calidez mediterr\u00e1nea.<\/span><\/p>\n

No puede dejar de enfatizarse que se trat\u00f3 de una lecci\u00f3n desde todo punto de vista. Asi debe ser un concierto, as\u00ed se hace m\u00fasica, as\u00ed se educa, asi se extas\u00eda al p\u00fablico, asi se preserva la gran tradici\u00f3n. Muti y CSO reconfirmaron que el modelo no est\u00e1 caduco, que no necesita ni aditamentos, ni concesiones ni amaneramientos superfluos, cuando las cosas se hacen como se debe est\u00e1 todo dicho: basta la m\u00fasica. Gracias\u00a0maestrissimo<\/em>, gracias Chicago. Regresen pronto.<\/span><\/p>\n

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Chicago Symphony bookends Prokofiev in ‘Romeo and Juliet,’ groundbreaking Symphony No. 3<\/strong><\/h3>\n

\u2013 by Harriet Howard Heithaus | February 14, 2020<\/p>\n

What audiences heard Thursday night at Artis\u2014Naples\u00a0was two love stories filtered through the musical mind of\u00a0Sergei Prokofiev. Both carried tragic overtones, but both were engagingly\u00a0and powerfully composed.<\/p>\n

So who better to bring them to us than the Chicago Symphony Orchestra with Music Director\u00a0Riccardo Muti? These are works\u00a0that make precision turns, cross the entire spectrum of dynamics and demand shadings you won’t hear for years. There’s no orchestra more capable of doing that than the CSO.<\/p>\n

For contrasts, think about the unnerving anger served up in the Montague-Capulet theme, probably one of the best known in the Suite from “Romeo and Juliet” that opened the concert. Within minutes, it\u00a0whirls around to focus on a buoyant string dance built around\u00a0the playful Juliet.\u00a0The segment of the masked ball nearly struts out with a jazzy introduction and leaps into a series of Prokofiev’s arresting accidentals.<\/p>\n

There’s little time for the orchestra to breathe here; even the minuet goes into grand scale with a trumpet melody to articulate the melody and some\u00a0exotic brass harmonics. In its performance, the\u00a0Chicago Symphony scoops up equal parts of freshness\u00a0and intensity. Even the painful moments are fascinating.<\/p>\n

Muti radiates that intensity himself from the podium, and not necessarily for the large sounds; he nearly becomes airborne several times when he’s urging the orchestra \u2014 quite successfully \u2014 to keep Juliet’s carefree dances immune from gravity.<\/p>\n

There’s room for an abundance of solo work within the orchestra, like Li-Kuo Chang’s impressively strong, sweet\u00a0viola solo in the “Before Parting” sequence. The Chicago Symphony has the kind of percussion and brass sections conductors pray for \u2014\u00a0 all controlled power and clarity \u2014 and few composers show that off so well as Prokofiev in both “Romeo and Juliet” and his Symphony No. 3.<\/p>\n

Prokofiev’s Symphony No. 3\u00a0 is based on his opera, “The Fiery Angel,” which incensed Soviet sensitivities so much Prokofiev kept it \u2014 and the symphony, which apparently riled Stalin\u00a0\u2014\u00a0out of sight.<\/p>\n

It is not the kind of symphony you’d curl up in a hammock with.\u00a0Nor is it the kind of symphony you take a theme or two hum. In fact, it’s not even the kind of symphony some of us would buy for listening; we fear the power it wields in live performance\u00a0would be diluted.<\/p>\n

Prokofiev didn’t plan to make his Third Symphony “opera lite,” but to expand on some of its themes, and he did not spare the horses\u00a0in that.<\/p>\n

From an opening that crashes over the audience to an ending on close to a full run, it’s a complex, fascinating\u00a0work. The brass instruments\u00a0occasionally talk their own game while the violins spin a legato melody. The demands on the percussion put them at odds with other timing, a treat\u00a0for the audience, if not for the other sections of the orchestra.<\/p>\n

The symphony doesn’t linger on its melodies, but seems to open one door after another on ideas, and it’s a mesmerizing piece. Motifs like note pairs and brass statements return and,\u00a0in the final movement, there’s a redux of the first themes on steroids<\/p>\n

Through it all, the CSO strings are core strength in this work. They offer ethereal\u00a0melodies; they function as percussion in tempo-forward series; they create the eerie opening atmosphere of the third movement with a series of tire squeals\u00a0and high-speed\u00a0sequences that’s beyond amazing.<\/p>\n

Prokofiev embedded in the symphony a sense of foreboding, at even the lightest moments, it clings to this work like the light mist on your windows in the morning. The symphony and Muti caught every note of that, and gave\u00a0their listeners the kind of riveting performance the composer meant for it. I would come to a second performance of this in a heartbeat. (Saturday night’s program is different, however; see the information box.)<\/p>\n

Muti sensed the audience appreciation, and he and the orchestra obliged the ovation with a surprise: a full orchestral reverie\u00a0from Scriabin, who’s known primarily for his piano works. It was a thoughtful piece, by turns pensive, slightly apprehensive and finally surrendering.<\/p>\n

But that was only after the maestro wandered over to stage to pointedly wave goodbye to the thoughtless\u00a0contingent who walked out during the middle of the applause. I am probably not the only music lover who wanted to crawl under a seat in mortification.<\/p>\n

Harriet Howard Heithaus, Naples Daily News<\/em>, February 14 2020<\/p>\n

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<\/a>Watch the photos:<\/p>\n

February 11, Miami<\/p>\n

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