019. Pianul Calator: Horia Mihail, repertoriu Franz Liszt

Turneul a ajuns si in Hunedoara, in Sala Cavalerilor a Castelului Corvinilor. L-am descoperit pe Horia Mihail, un talentat artist ce a pus in valoarea muzica lui Franz Liszt intr-un spectacol impartit in doua parti. Prima parte, ce a cuprins noua piese din anii de pelerinaj ai lui Liszt, printre care Au lac de Wallenstadt, Orage, Le mal du pays si Eglogue au instaurat efectul cathartic si au dovedit virtuozitatea interpretului. Aura romantica a fost mai puternica in partea a doua, prin Liebestraum, Valse Impromptu, Valse Caprice si Consolation, un final visator, insa cu nuante puternice.

Cu intreaga recuzita a spectacolului in cadrul unui castel datand din sec. XV, cu linistea unei seri de duminica, cu o interpretare definita prin apogeu, Pianul Calator a fost o adevarata incantare, iar Horia Mihail un adevarat maestru.

010. Felicity Lott en récital a Compiegne

 

Extrait du film :Dame Felicity Lott et Maciej Pikulski aux Automnales du Château de Compiègne (2008)

Durée intégrale: 82′ (interview 16′ + récital 66′)

Réalisation: Serge Gauthier-Pavlov

Diffusions sur MEZZO.

Felicity Lott’s performance at the 2008 edition of Les Automnales du Palais impérial de Compiègne, is like a good wine: apparently a simple drink, in fact demanding patience, full attention, a dosage of enough tenderness, culture and a bohemian mood in order to reach and only afterwards appreciate its flavour. 

Through this amazing performace, Felicity Lott broke the classique atmosphere, interacting with the audience, allowing people to burst into laughter and sending blow-kisses in a short break. And what creates this bound with the audience is a perfect role-play, along with a wise choice of more accessible, garrulous melodies, the nostalgic, heavy sounds of Debussy or Offenbach’s work crying out for freedom of speech and expression. Singing is funny and melancholic, with occasional, short vocal participation of the piano-player, Maciej Pikulski. 

Claude Debussy’s L’ombre des arbres knows exactly how to impose its gloomy structure, the desolate feeling of a lost world, of a grey existence carrying a heavy burden. Yet, Tu N’est Pas Beau and La Grande Duchesse de Gerolstein of Jacques Offenbach brought optimism, brightness and assurance, while Francis Poulenc, resurrected through the soprano’s voice, bloomed in romance with Les chemins de l’ amour.

Such a performance never seems to ask for much: but it does. It needs respect and the love for music, embedded in one’s being; it makes compromises, letting people manifest their joy. It never forgets, however, the purpose of classical music. And finally, it bows to what the true artists stand for: beauty of form.