<Translated from Italian automatically>
Auditorium di Milano. «I was here some years ago, now I find a more ductile, flexible and above all rapid orchestra. In particular, I am struck by the command of the language of Shostakovich; it's clear they have played it for a long time and have worked a lot on his symphonic production».
That «La Verdi» (the orchestra) had studied Russian in depth, there was no doubt, considering that in recent seasons it had had exceptional native-speaking maestros, from Caetani to Barshai, from Fedoseyev to Jurowski. The judgement is authoritative because it is pronounced by an absolute authority in the interpretation of this repertoire, the Muscovite Alexander Vedernikov. Appointed in 2001 music director of a decaying Bolshoi, he rebuilt the myth of the theatre admired worldwide for its opera and ballet productions.
For his return to the Auditorium, Vedernikov chose three pieces practically unknown to the public, not only in Milan.
«Kalinnikov's first symphony was actually performed a lot until the middle of the last century, for example by Toscanini», he explains. «Even if in the last fifty years its presence in programs has become increasingly rare». What is this abandonment due to? «Perhaps fashion or simple chance. I know why it was liked so much and, at least in Russia, was performed a lot: splendid and singable melodies in which there is the fragrance of the popular songs of our land, romantic atmospheres that closely resemble Tchaikovsky who, in fact, loved this symphony very much».
The second piece, which will feature Alexander Kniazev in the solo role, is the cello concerto by Miaskovsky, an author appreciated by Stalin: «But his language is certainly not designed to ignite the stalls. It addresses the musicians more than the people, because although fragmented into multiple, subtle nuances, it is immersed in an atmosphere of perennial melancholy». The last author is the only known one, Shostakovich. The title, however, will be unknown to most: «The Bolt». «It is one of his three ballets. Written at the beginning of the Thirties, it is pervaded by corrosive and sharp sarcasm: it almost seems like futurist music. There were few subjects that Shostakovich could deal with, the Party censored, the only way out was satire».
Source.
The great Russian repertoire with La Verdi and Vedernikov
La Repubblica, December 10, 2009
A program of great beauty at the Verdi Auditorium, balancing between the repertoire of old Russia and music from the gloomy years of the regime. It is presented by the principal conductor of the Bolshoi Theatre in Moscow, Alexander Vedernikov, and the cellist Alexander Kniazev, considered among Rostropovich's students. The lineup opens with Kalinnikov's First Symphony (composed at the end of the 19th century and immersed in a late-romantic climate), then moves on to Miaskovsky's Concerto for cello and orchestra. Concluding are the music tracks from Shostakovich's ballet The Bolt, beloved by Stalin.
Source.
Auditorium di Milano. «I was here some years ago, now I find a more ductile, flexible and above all rapid orchestra. In particular, I am struck by the command of the language of Shostakovich; it's clear they have played it for a long time and have worked a lot on his symphonic production».
That «La Verdi» (the orchestra) had studied Russian in depth, there was no doubt, considering that in recent seasons it had had exceptional native-speaking maestros, from Caetani to Barshai, from Fedoseyev to Jurowski. The judgement is authoritative because it is pronounced by an absolute authority in the interpretation of this repertoire, the Muscovite Alexander Vedernikov. Appointed in 2001 music director of a decaying Bolshoi, he rebuilt the myth of the theatre admired worldwide for its opera and ballet productions.
For his return to the Auditorium, Vedernikov chose three pieces practically unknown to the public, not only in Milan.
«Kalinnikov's first symphony was actually performed a lot until the middle of the last century, for example by Toscanini», he explains. «Even if in the last fifty years its presence in programs has become increasingly rare». What is this abandonment due to? «Perhaps fashion or simple chance. I know why it was liked so much and, at least in Russia, was performed a lot: splendid and singable melodies in which there is the fragrance of the popular songs of our land, romantic atmospheres that closely resemble Tchaikovsky who, in fact, loved this symphony very much».
The second piece, which will feature Alexander Kniazev in the solo role, is the cello concerto by Miaskovsky, an author appreciated by Stalin: «But his language is certainly not designed to ignite the stalls. It addresses the musicians more than the people, because although fragmented into multiple, subtle nuances, it is immersed in an atmosphere of perennial melancholy». The last author is the only known one, Shostakovich. The title, however, will be unknown to most: «The Bolt». «It is one of his three ballets. Written at the beginning of the Thirties, it is pervaded by corrosive and sharp sarcasm: it almost seems like futurist music. There were few subjects that Shostakovich could deal with, the Party censored, the only way out was satire».
Source.
The great Russian repertoire with La Verdi and Vedernikov
La Repubblica, December 10, 2009
A program of great beauty at the Verdi Auditorium, balancing between the repertoire of old Russia and music from the gloomy years of the regime. It is presented by the principal conductor of the Bolshoi Theatre in Moscow, Alexander Vedernikov, and the cellist Alexander Kniazev, considered among Rostropovich's students. The lineup opens with Kalinnikov's First Symphony (composed at the end of the 19th century and immersed in a late-romantic climate), then moves on to Miaskovsky's Concerto for cello and orchestra. Concluding are the music tracks from Shostakovich's ballet The Bolt, beloved by Stalin.
Source.
The Bolshoi director on the podium «rediscovers» Kalinnikov.
Vedernikov: «"La Verdi"? Passes the Russian exam»
Vedernikov: «"La Verdi"? Passes the Russian exam»
Enrico PAROLA, Corriere Della Sera, December 9, 2009
