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La vitalidad
mediterránea se adueña de la escena
Javier Sayas
El Periódico de Aragón, 14/10/2004
Ciclo Música Clásica Pilar
2004
Sala Luis Galve del Auditorio de Zaragoza, 13/10/2004
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"La minitemporada
clásica del Pilar se puso ayer de gala con un concierto
(que se repite hoy) de la orquesta Al Ayre Español [...].
Para la ocasión el grupo se ha decantado por un programa
fácil de oír y grato al público (se notó
en la intensidad del aplauso final), presentado con sus habituales
rigor estilístico y brillantez técnica.
[...] De entre las obras presentadas, descolló
el más conocido y, no por ello menos valioso, Concierto
para dos violines y cello [de Vivaldi], con especialmente
brillante actuación de Lorenzo Colitto, concertino del
grupo [...]".
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Barrocomanía
Javier Sayas
El Heraldo de Aragón, 14/10/2004
Ciclo Música Clásica Pilar 2004
Sala Luis Galve del Auditorio de Zaragoza, 13/10/2004
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"La ejecución
del Concierto para cuerdas y continuo RV 128 de Vivaldi fue
un alarde de matices y contrastes con el sonido mullido característico
producido con los arcos barrocos utilizados por los músicos,
culminando con virtuosismo orquestal en el Allegro final.
[...]
Ofrecieron otras dos obras de Vivaldi. El
Concierto para dos violines, cuerdas y continuo nº 11,
RV 565, con buen lucimiento de los dos violines concertinos
-Colitto y James- y también de los dos violoncellos
-Wieboldt y Ruiz- que estuvieron inmensos
en esta obra de la colección op. 3 L'estro armonico
[...]".
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Sing a Song of
Good King Arthur
James R. Oestreich
The New York Times, 21th March 2002
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"The New York
Collegium, the period-instrument band if not the chorus, has
blown hot and cold during its three years. In Purcell's delightful
King Arthur on Friday evening, as if to warm the Cold
Genius and the Cold People of Dryden's text, it blew mostly
hot under the direction of Bernard Labadie.
King Arthur, from 1691, is a semi-opera, a play with
music. Allegorical illumination in song supplements spoken theater
involving Arthurian characters.
Here the speech was boiled down to a narration, written by Lawrence
A. Rosenwald and deftly delivered by Janet Bookspan. Mr. Rosenwald
wins points for bravery if not discretion in venturing his arch
couplets alongside Dryden's lyrics.
In the song, the lead sopranos were excellent and well contrasted,
the incisive edge and sparkle of Suzie LeBlanc's sound setting
off Jolle Greenleaf's sweeter, mellower tone. Thomas Meglioranza,
a baritone, did not extract every aching ounce of world-weary
emotion from the Cold Genius's aria, but he compensated with
rollicking good humor in the drinking song 'Your hay, it
is mow'd'. Alan Bennett, a clear-voiced tenor, also had
good moments.
The chorus was wonderful even though a bit recessed in the auditorium
of the New York Society for Ethical Culture, near Lincoln Center.
Bright and lively, the choristers put across most of their words,
even in the chattering Chorus of the Cold People: a crucial
matter, since no printed texts were supplied.
Mr. Labadie paced the work cannily and briskly, and the orchestra,
obviously well drilled, responded with enthusiasm. Lorenzo
Colitto, the concertmaster, and Eric Milnes, the harpsichordist,
were especially fine. The only real problems were in
some of the wind playing, especially from the trumpets. An attempt
to enhance the proceedings with lighting didn't quite come off.
But clearly fun was had by all.
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Getting To Know
Bach Better
James R. Oestreich
The New York Times, 23th January 2002
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"Reinhard Goebel
is a musical spark plug, sure to energize any program or performance
he touches as violinist or conductor. So it came as no surprise
that the New York Collegium, led by Mr. Goebel, played on its
mettle in a scintillating evening of German Baroque concertos
on Friday at the New York Society for Ethical Culture.
Mr. Goebel, who founded the superb Musica Antiqua Köln
in Germany and knows the music of Bach and his time intimately,
seemed bent on showing that Bach, who reworked so many concertos
of Vivaldi, was not influenced in his own concertos solely or
even principally by that master.
[...] Mr. Goebel rounded out the historical context with a Flute
Concerto in G by Johann David Heinichen, another composer who
influenced Bach, and a Concerto in B minor for Harpsichord and
Flute by Johann Ludwig Krebs, a Bach pupil. Krebs clearly based
aspects of his work, notably the big harpsichord cadenzas in
the first and third movements, on the Fifth Brandenburg. But
Léon Berben, the collegium harpsichordist, played down
the outsize nature of Bach's own first-movement cadenza,
using an earlier, shorter version.
Mr. Berben, Nancy Miller, the flutist, and Lorenzo
Colitto, the concertmaster, were mostly adequate if not exciting
soloists. Mr. Goebel, wielding baton but no fiddle, drew
lively, polished playing from the ensemble apart from a mildly
chaotic moment in the Bach A minor".
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Confident Collegium
brightens Baroque
R. Buell
Boston Globe, 15th May 2001 |
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"[…] scads
of lustrous tone, plus some very emphating phrasing.
[...] A for chops, another A for enthusiasm [...] this affair
had a juicy and robust tone".
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With technical
perfection and...
Kieler
Nachrichten, July 2002 |
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"With technical
perfection and clarity of articulation, Fabio Biondi and Lorenzo
Colitto, principal violins, provided variety and richness of
sound.
[...] Biondi and Colitto demonstrated their solo skills in Caldara's
Sinfonia Concertata for two violins and strings".
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Orquestas
Conjuntos
