The pianist Tomás Alegre carried out on the Teatro Colón with Mozart’s Piano Concerto Ok. 414, collectively with the Buenos Aires Philharmonic Orchestra Directed by Pablo Druker.
Handed 4 years since his debut on the Colón, and fairly a couple of extra since, on the age of twelve, he started his profession as a soloist with Mozart’s concerto for piano and orchestra Ok. 415.
The Prodigy Baby Opinion fell instantly on the pianist however, not like different kids in whom that opinion is usually a true curse because of the weight of rising up and unfolding a profession in gentle of such promise, Alegre managed to develop his potentialities and a profession that turns into yearly. extra strong time.
Tomás Alegre provided a model of himself absolutely built-in with the orchestral group. Picture Teatro Colón / Arnaldo Colombaroli
The half on the service of the entire
Nonetheless within the operatic high quality that Live performance nº12 has, the place the soloist may very well be assumed to be an opera diva and turning into the star attraction of the present, Alegre delivered an impeccably courteous model, absolutely built-in with the orchestral group.
These are the primary concertos that Mozart composed for the Viennese public, and so they have been designed in such a manner that the horn components may very well be omitted and made equally appropriate for home efficiency. The empathy between Drucker and Alegre made attainable a profitable and balanced intimacy. An ascetic, dry Mozart one might say, however by no means missing in expressiveness.
Simply that it is about such a direct expressiveness the one which appeared within the interpretation of the pianist that may be defined with a superb thought of Federico Monjeau concerning the misleading “musical surface” in Mozart: one thing misleading and true on the identical time coexists there as a result of Beneath the floor of that music there’s nothing, simply music.
Tomás Alegre, proprietor of an expressiveness that reveals the true essence of what he interprets. Picture Teatro Colón / Arnaldo Colombaroli
The deeper and sometimes darker reaches, as within the second motion that opens with a quote from La Calamità dei cuori of Baldassare Galuppi written by Johann Christian Bach, emerge from dexterous dealing with with the change of sonority.
Method and sensitivity
Alegre confirmed not solely his technical ease -the outlines of the sentences had the element of the goldsmith’s work- but in addition his appearing qualities by means of his tempo adjustments, his sudden hesitations in every of the cadences of the three actions.
The vitality and sense of enjoyable weren’t missing within the final transfer. The pianist thanked the ovations with an encore by Granados, The Maja and the Nightingale, of the suite Goyescas.
The exhilarating program had began with the no much less exhilarating Ittingen-Concerto, by the Argentine Oscar Strasnoy, specifically written for the Akademie für Alte Musik in Berlin within the instrumental mannequin of Bach’s Brandenburg Concertos.
Pablo Drucket efficiently carried out the orchestral corps, each within the part devoted to Mozart and within the works by Strasny and Stravinsky. Picture Teatro Colón / Arnaldo Colombaroli
The three actions that make up the fragmentary and encrypted model work, Brandenburg-Ittingen (By prepare), Radiance and Canons, they’d a profitable musical efficiency by Pablo Druker and an excellent efficiency by the concertmaster Xavier Inchausti.
The night time had a serene closing with Apollon musagete Stravinsky, who might have been favored at occasions by a barely extra incisive interpretation.
Philharmonic Orchestra of Buenos Aires
director Paul drucker
Soloist Tomás Alegre (piano) Sala Teatro Colón, Thursday 30.
Reference from clarin