 |
|
|
|
| Journal Archive |
| Salzburger Festspiele |
|
| "... die Droge Atem" |
|
 |
|
Stefan Drees of Klassik.com about “Kontinent Rihm:”
“This new col legno production assembles compositions for ensembles with different instrumentations from the concert series ‘Kontinent Rihm’ hosted by the Salzburg Festival in 2010, and succeeds in recapitulating the concept of the series in a nutshell: namely, to place individual works by Wolfgang Rihm into a larger context, and confront them with other composers’ music. It was, indeed, a wise decision to retain the idea of musical contrasts in releasing these live recordings from two concerts featuring Klangforum Wien under the conductors Emilio Pomàrico and Sylvain Cambreling, rather than to focus solely on Rihm’s own music, which would have been a logical option on the occasion of the composer’s 60th birthday this year. And it is in particular its contextualization that accounts for the impact and discographical relevance of this release.” |
|
| "Blut. Blut. Blut" |
|
 |
|
An excerpt from Ljubisa Tosic’s review of the performance of Salvatore Sciarrino’s “Macbeth,” published in the newspaper Der Standard:
“Sciarrino leads the protagonists into his delicate world of tiny sound gestures, and looks into their hearts: the vocal part communicates the inner turmoil within Macbeth (exquisite: Otto Katzameier) and his Lady (very intense: Anna Radziejewska) through fragmented speech, broken bathos or obsessive repetitions of sentences. The instrumental part also contributes to the oppressive intensification of the portrayed states of mind. A prevailing feature in this is the minimalistic placing of “exclamation marks,” achieved through percussive means, gentle glissandi or flageolets; they reach their extroverted culmination in the banquet scene:
Here Sciarrino puts Macbeth at the center of brilliantly colliding and overlapping aggressive beats, pounding rhythms as well as traditional elements reminiscent of Mozart’s Don Giovanni or Verdi’s Macbeth. Superb. Klangforum Wien under Evan Christ’s direction have mastered both the art of reduction and the art of “explosion” and demonstrate that sometimes intensity steals up on us on cat’s feet.” |
|
|
|
|
|
