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Sarah Louise Ridy

Review from Tel-Aviv Cinemateque, 8th April 2016

5/2/2016

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Read the original article:
http://www.revistasingur.ro/articol-pres/14822-biti-caragiale-la-comemorarea-pictorului-baruch-elron

​Vineri, 8 aprilie 2016, aşa cum a fost publicat în Jurnalul Săptămânii, a avut loc în Sala Cinematecii din Tel Aviv comemorarea unui deceniu de la dispariţia pictorului Baruch Elron, o personalitate cu totul specială în spaţiul artei israeliene.
Lydia Elron, care l-a întovărăşit cu devoţiune în întreaga viaţă şi creeatie, s-a preocupat de organizarea acestui eveniment pentru readucerea pictorului în memorie. În cadrul reuniunii, opera acestui artist a fost pusă în lumina prin prezentarea susţinută de dr. Dalia Hakker-Orion, cercetător în domeniul Artelor Plastice.
Publicul a putut urmării pe ecran imaginile unor tablouri din creaţia lui Baruch Elron, bucurându-se de interpretările bine documentate ale conferenţiarei. Domnia sa a subliniat vastele cunoştinţe ale pictorului, din domeniile artelor, a literaturii, a mitologiei, dar şi din domeniul ştiinţelor naturii.
Temele abordate de Baruch Elron au fost legate de poveşti din biografia sa. Trecerea fără oprire a timpului, muzică, peisaje văzute prin fereastră, locul şi viaţa femeii, au prins viaţă pe pânzele sale. Personaje şi episoade din Biblie au apărut în pictura acestui artist de mare originalitate că personaje trăind în zilele noastre. Stilul pe care l-a abordat în pictura a fost denumit „realism fantastic".
Pictorul Arie Lamdan, prieten şi coleg de profesiune, a realizat în continuare o evocare a personalităţii lui Baruch Elron, a umorului său şi a preocupărilor comune. Scurte momente muzicale din programul comemorării au fost interpretate la harpă de Sarah Ridy, sosită din Londra. Talentată muziciană a cucerit publicul cu frumuseţea melodiilor baroc. Violonistul Gal Eckstein şi violoncelistul Eyal Heyman au interpretat cu har din Invenţiile numărul 1 şi 4 de J.S.Bach.
Lydia Elron a ales să îmbogăţească evenimentul cu un program muzical în amintirea soţului ei, care obişnuia şi îi plăcea să asculte asemena partituri. Ba mai mult, harpă şi vioara au avut un loc special în amplele sale picturi. 
Evenimentul s-a bucurat de participarea unui număr mare de prieteni ai familiei Elron, de personalităţi din domeniul artelor, reprezentanţi ai Jurnalului Săptămânii şi Revista Expres Magazin şi, reprezentanţi ai I.C.R. Tel Aviv. Au onorat evenimentul E.S. Andreea Păstarnac, Ambasador al României în Israel, Doamna Colette Avital şi, Micha Harish, Preşedinte A.M.I.R. Comemorarea, organizată de Lydia Elron, soţia şi totodată muza pictorului, constituie un act de cultură, un omagiu spre neuitare, a unui magician al picturii.


Rough translation...

​Friday, April 8, 2016, as published in the Official Week, held in Tel Aviv Cinematheque Hall commemorating a decade since the disappearance painter Baruch Elron, a very special personality in Israeli art space.
Lydia Elron, which has fellowship with devotion throughout life and creeatie, was concerned about bringing this event to the memory of the painter. At the meeting, the work of this artist was made in light of the presentation by dr. Dalia Hakker-Orion, researcher Fine Arts.
The audience could follow the on-screen images of paintings by Baruch Elron's creation, enjoying the well-documented interpretations of lecturers. He stressed vast knowledge of the painter, arts, literature, mythology, and the natural sciences.
Baruch Elron topics addressed were related to stories of his biography. The run time, music, landscapes seen through the window, place and the woman's life, came to life in his paintings. Characters and episodes from the Bible appeared in paintings by this artist of great originality that the characters live in today. The style that I approached the painting was called "fantastic realism".
Arie Lamdan painter, friend and professional colleague, further realized an evocation of Baruch Elron's personality, his humor and common concerns. Short musical moments of commemoration program were interpreted by Sarah Ridy harp, arrived from London. Talented musician wows audiences with the beauty of baroque music. Violinist and cellist Gal Eckstein Eyal Heyman sang with grace of Inventions number 1 and 4 J.S.Bach.
Elron Lydia chose to enrich the event with a musical program in memory of her husband, who used and liked to listen to music Also. Moreover, harp and violin had a special place in his paintings ample.
The event was attended by a large number of family friends Elron, personalities from the arts, representatives Journal and Magazine Week Expres Magazin and representatives I.C.R. Tel Aviv. Honored event S.E. Andreea parsnips, Romanian Ambassador to Israel, Mrs. Colette Avital and Micha Harish, President A.M.I.R. The commemoration, organized by Elron Lydia, his wife and muse of the painter also constitutes an act of culture, a tribute to remembrance, a magician of painting.
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Review of l'Arpeggiata concert, Selva Morale in Dortmund on 28th April

5/3/2013

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Dortmund.  400 Jahre alte Musik: Christina Pluhar und ihr Ensemble L'Arpeggiata zeigten am Sonntagabend viel Improvisationskunst. Pluhar war in erster Linie als Dirigentin da, spielte aber in drei Sätzen selbst Laute.

Es ist kaum zu glauben, dass Monteverdi schon vor 370 Jahren gestorben ist, wenn man Christina Pluhar und ihr Ensemble L’Arpeggiata mit seiner Musik hört. Am Sonntagabend brachte die 48-jährige Königin der Langhalslaute elf Sätze aus einer der "Selva morale e spirituale", einer der drei großen Sammlungen des Frühbarock-Meisters, zum Swingen.

Die Reihenfolge der Auszüge würfelten das Ensemble und die acht vorzüglichen Gesangssolisten auch immer wieder durcheinander. Das ist Improvisationskunst. Christina Pluhar kam diesmal in erster Linie als Dirigentin. Im Sitzen leitete die Österreicherin die Ensembles, und spielte nur in drei Sätzen selbst Laute - leider mit dem Rücken zum Publikum. Das war nicht ganz vorteilhaft. Aber das Lautenduett "Salve Regina" mit Harfe und zwei Männerstimmen war einer der schönsten Sätze dieses anderthalbstündigen, pausenlosen, dichten Abends.


Please click here to read the original article in full.
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Reviews of Scherzi Musicali's concerts from the recent tour of Belgium and the Netherlands

5/31/2012

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click here to read review online at Forum Opera


11/05 : AIMEZ-VOUS MAZZOCCHI ?
Nicolas Achten © DR

Il ya bien sûr du ménestrel et de l'homme orchestre chez Nicolas Achten ; encore faut-il le voir à l'œuvre pour prendre vraiment la mesure de ses dons. Le baryton, qui joue aussi de la harpe mais cède en l'occurrence la place à l'excellente Sarah Ridy , s'accompagne au luth dans un lamento de Stefano Landi avant de toucher le virginal pour une toccata de Rossi, puis de joindre sa voix à celles des chantres de l'ensemble Scherzi Musicali pour exalter l'altière beauté de Domenico Mazzocchi. Actualité oblige, le compositeur romain se trouve au coeur d'une tournée qui emmène ces amoureux du Seicento sur les routes de Flandre et des Pays-Bas, avec un détour par Bruxelles, samedi dernier, et, n'en doutons pas, une apothéose dans le Loiret le 20 mai prochain (Amilly). 
Après avoir gravé l'Euridice de Caccini, inédite en CD, des motets de Sances et d'autres de Fiocco, Scherzi Musicali a signé chez Alpha qui vient de publier en première mondiale l'enregistrement deLa Catena d'Adone. René Jacobs avait programmé cet ouvrage, considéré comme le premier opéra romain, au festival d'Innsbruck en 1999. Une mise en scène est-elle pour autant indispensable, comme l'évoquait récemment Maximilien Hondermarck , afin de stimuler l'œil et, à travers lui, l'esprit ? Dans les fragments proposés, comme d'ailleurs dans les extraits des Musiche sacre e morali(1640), Nicolas Achten et Reinoud Van Mechelen , splendide ténor haute-contre, démontrent que le verbe n'a nul besoin d'image ni de geste pour s'incarner quand les artistes en sont pénétrés. En revanche, ces derniers ont peut-être besoin des circonstances du live, de sa prise de risques, de la présence du public pour être touchés par cette grâce fugitive qui tend à disparaître devant les micros... 
Sans être aussi extravagant ni radical que Gesualdo ou Michelangelo Rossi, Mazzocchi illustre, à sa manière, l'audace qui saisit dans les premières décennies du dix-septième siècle les aventuriers du « je » poétique et dramatique, affranchis de l'abstraction polyphonique. Il va sans dire qu'il mériterait largement de quitter l'ombre imposante de Carissimi. Domenico Mazzocchi (à ne pas confondre avec son cadet, Virgilio, co-auteur de l'opéra bouffe L'Egisto remonté par Jérôme Corréas la saison dernière) développe un langage harmonique très personnel, affectionne les chromatismes et explore la microtonalité pour mieux épouser la diversité des affects que le soprano charnu, mais aussi éclatant deMarie de Roy , plutôt inhabituel dans ce répertoire, peine quelquefois à restituer ( « Lagrime amare »). Dans ces pages exigeantes, Jill Feldman et Maria-Cristina Kiehr demeurent inégalées. 
Les partitions du Romain présentent également des indications de tempo et de nuances dynamiques, une pratique inhabituelle à l'époque et qui nous montre que le compositeur se faisait une idée très précise de la manière dont sa musique doit être interprétée.Nicolas Achten également, qui excelle en particulier dans le pathétique (« Padre del Ciel ») et se révéle plus sensible, plus habité que ses partenaires. La richesse des accents, le choix des ornements trahissent un raffinement de tous les instants, parfois presque maniériste que peu de chanteurs possèdent à un tel degré. C'est une personnalité avec laquelle il va falloir compter et qui n'a pas fini de nous surprendre ! [BS] 

Lagrime amare, Scherzi Musicali. Marie de Roy, soprano ; Reinoud Van Mechelen, ténor ; Nicolas Achten, baryton, théorbe, virginal ; Eriko Semba, viole de gambe ; Sarah Ridy, harpe triple. Eglise des Minimes, Bruxelles, 5 mai 2012 
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May 31st, 2012

5/31/2012

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click here to read review online

"Lagrime Amare"

Scherzi Musicali/Nicolas Achten
concert: May 10, 2012, Utrecht, Vredenburg Leeuwenbergh
 

Johann Hieronymus KAPSBERGER (1580-1651): Toccata prima; Stefano LANDI (1590-1639): Superbi colli e voi; Domenico MAZZOCCHI (1592-1665): Dunque ove tù Signor (Compuntione nel veder Gierusalemme, o rammentarsi la morte di Christo); Fortunato su'l volto; La catena d'Adone, opera in a prologue and 5 acts (exc); Lagrime Amare (La Madalena ricorre alle lagrime); Non ha più loco; Padre del Ciel (In tribulatione positi verba sunt ista); Piangete, occhi, piangete (Dovemo piangere la Passione di N.S.); Vide nel mezzo dell ombrosa notte (Per il santissimo natale); Luigi ROSSI (1597-1653): Passacaglia; Michelangelo ROSSI (1601-1656): Toccata VII 

Marie De Roy, soprano; Reinoud Van Mechelen, tenor; Nicolas Achten, baritone, theorbo, keyboard; Eriko Semba, viola da gamba, lirone; Sarah Ridy, triple harp 

Love and lament - those are two of the most frequent subjects of baroque music in general and of Italian 17th-century music in particular. They look like opposites, but in fact they are strongly connected. In many compositions tears are the result of intense love, and especially if the relationship goes sour. Another feature is the parallellism of love and lament in secular and sacred music. In the latter it is especially the passion of Jesus which has made composers to write laments. In Italy, where the veneration of Mary was especially strong under the influence of Counter Reformation, the laments of Jesus' mother about the passion and death of her son were inspiring many composers to write some of their best music. 

Love and lament were the subjects of the programme which the Belgian ensemble Scherzi Musicali performed in a series of concerts in the Netherlands and Belgium, under the appropriate title Lagrime Amare, "bitter tears". It was composed around the figure of Domenico Mazzocchi, a lesser-known composer of the early 17th-century. He was a contemporary of Francesco Cavalli which means that he belongs to the generation after Monteverdi. This is reflected in his music: the strict adherence to the supremacy of the text makes way to a stronger interest in melody. In his work we find the first rudiments of what was to become the aria. 

The first part of the programme was devoted to secular music. We heard large extracts from Mazzocchi's opera La catena d'Adone which Scherzi Musicali has recorded recently for the Alpha label. I hope to review that recording in due course on this site. The extracts were such that I am looking forward to hearing that opera. It became crystal clear that Mazzocchi knows how to tell a story in music, and that the interpreters know how to perform it. Marie De Roy, Reinoud Van Mechelen and Nicolas Achten gave a fine performance, which reflected the ideal of Mazzocchi's time, known as recitar cantando, 'speechlike singing'. Also impressive was the addition of a wide range of ornaments. In addition to his opera we heard two solo pieces by Mazzocchi, Superbi colli e voi, a piece in monodic style by Stefano Landi, and the famous Toccata VII by Michelangelo Rossi. Here he shows the same sense of experiment as other composers in their vocal or ensemble music. This toccata is especially remarkable for the sequences of heavy dissonants, which are the result of Rossi exploring the expressive qualities of mean-tone temperament to the full. Nicolas Achten played it excellently. 

The second part of the programme was devoted to pieces of a sacred nature. These were all written on Italian texts, which is an indication that they were not intended for liturgical use, but rather for social gatherings of the aristocracy. Vide nel mezzo dell ombrosa notte refers to Christmas. It is a dialogue in which the day complaints about the night being the time that the light of Christ's birth appears. Padre del Ciel is a prayer to God, and the last three pieces were all related to the Passion of Christ. The intensity of the affetti in this repertoire was perfectly expressed, not only by the three singers, but also through the contributions of the instrumentalists. The lirone is invaluable in this kind of repertoire; it was beautifully played by Eriko Semba. Sarah Ridy delivered a penetrating and improvisatorial performance of Kapsberger's Toccata prima. 

This ensemble which was founded in 2006 has received much praise for its performances. It was the first time I have heard it live, and my positive impressions from a concert I heard on Belgian radio were fully confirmed. The ensemble's director, Nicolas Achten, is a remarkable artist, as he not only sings, but also plays the theorbo and the keyboard, and often accompanies himself. He does so very well, and he sings and plays with the same amount of passion and intensity. He has brought together a fine group of musicians who delivered a most memorable concert. I hope they will return soon. 

Johan van Veen (© 2012) 
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