Athenian Theodore Currentzis (1972) saw you, thanks to La Filarmónica, a regular guest in our scenarios, in which he deployed a wide arsenal of programmers.
Just the same He is often a friend of originalitynot always with a completely convincing argumentative and musical basis, we try frequently with our fine musical feeling and proposals. A month ago, we demonstrated this in a Handel program, in which, in some cases, dubious stylistic arguments, everything shone together, beautifully phrased and airily accented.
He is a master of extremes and a genius. In this way, sometimes in the general understanding of our plans, which at certain times we can consider something beloved and always very personal, we can consume.
He is a mobile director who usually does not control the batta and takes all sorts of positions on stage: now standing, now stretching, now bending, now going into a four-way end. Don’t leave here, indifferent.
And still less to his musicians of the perfect Eternal Music, who run like clockwork at the least of its hints, which are abundant and constant. A constantly stirring fire manifests. Even in certain and delightful moments, he manages to calm down and immerse himself in the current musical.
MusicAeterna’s components act as clocks with minimal Currentzis indication
On this occasion, we will draw a unique program consisting of this great symphonic work entitled A ring without wordsprocessed in recent days by the great director, composer and violinist Lorin Maazel, who with great ability created a series of biographies, ensuring the maintenance of most leitmotifs who intervene in its construction Tetralogy Wagnerian.
In the Whole World Described and Lived in Four Parts —Honey Rin, Valkyrie, Siegfried y Twilight of the Gods— resident pagan heroism, primitive Germany and determinism.
The result is a mixture of ancient and ancestral paganism mixed with Christian reasons. Human and divine heroes, gods and monsters, primitive feelings and adventures full of rustic flavors converge in a vast song of deeds 2,739 stanzas which is it Song of the Nibelungen.
The work best allows us to reveal the mysterious paths and processes that are not well known about the origin and formation of epic poetry.
Incorporating all these elements, Wagner culminates the overall work of art Gesamtkunstwerk. In the ancient poem, the localization of archetypes and universal values popular in legend was found, which was considered the basis of any popular language. And it went slowly for many years. Josep Pons performed with the Orquesta Nacional more than a year ago.
The unique beauties that appear in this score were enjoyed by audiences in Barcelona (February 2, L’Auditori), Zaragoza (3, Auditorio), Madrid (5, Auditorio Nacional) and Seville (7, Teatro de la Maestranza), in this case and in that order.
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