The “Alexanderfest” of the Concentus Musicus retains the Feierliche die Oberhand

Der Concentus Musicus, the choir is nominated and soloists transferred Georg Friedrich Handel’s Work on a single and more homogeneous Weise in the Grote Musikvereinssaal.

Alexander of the Große and his Vergelungskrieg are the Persian: In that context the British Poet John Dryden Ode “Alexander’s Feast/Alexanderfest” is one, die in Georg Friedrich Händel’s Vertonung von 1736 with a great Erfolge for the Composers wurde.

Such a relationship with the theme cannot be resolved after it has come to an end. But the Gastmahl zur Feier des Sieges, bei dem zum Schluss by the Auftritt der Heiligen Cäcilia versöhnliche Klänge were presented and with this – which yes, the Schutzpatronin der Musik ist – brought the Kriegserzählungen zum Verstummen, gilded as baroque Musikschönheit. A work that does not consist of music and no longer the treatment of “The Power of Music/Die Gewalt der Musik” without title, will help the man as Zuschauerin or Zuschauer for the Großteil der Aufführung of one of the best Klanggewalt omfangenes.

All the glittering jubilations, pathetic and tanzerishly frivolous, began in the great music society and on the music concentrates of Stefan Gottfried. The music and music players complete the composition together with their music playing from the empfindsamen Arien and von dem Schlachthergang erzählenden Rezitativen von Beginn with my work from under the homogeneous playing.

Schwerpunkt on the Schillernde

Gottfried led with the success of the dynamics and with the success of the work, which is in symbolic language that brought victory after the fall of Persepolis on the stage. Through the painting of the Krieges, the Todeskämpfe and Verluste by Georg Friedrich Handel, who plays a role-play as the Feierlichkeiten, a man can increase the brightness of the Schwerpunkt on the Schillernde and Festliche.

It was a warm performance from the choir without any doubt, in the study of Johannes Hiemetsberger with more precise articulation and a more solid musical gestaltung of zurückliegenden kampf erzählte.

With herrlicher Full Wurden die Chorstellen zu Höhepunkten des Abends. Also, the soprano passages were of gender: Johanna Wallroth, the man from the Opernstudio der Wiener Staatsoper, known on Wednesday 2020 as Barbarina in “Le nozze di Figaro” and Giannetta in “Liebestrank” during the war, and the active beispelsweise other Oper Stockholm and the Wigmore Hall London host, while Arien is a bit swinging, with more impulses, jedenfalls always have their price.

This art has ignored the Anforderungen der Partie, which at the Uraufführung 1736 in Covent Garden in London by the Umfangs, nor by two singers, becomes war. Wallroth tries to earn his money. When a man makes an attack, he is a little afraid, but the man may feel ashamed. If you’ve been at it for a long time, you’re more likely to do this.

Luxusbesetzung Florian Boesch

Von Tenor Michael Schade said that he had more complete wishes, he said that he was higher and that the war was lighter in the erzählenden Passagen. A luxury occupation for the relatively young Bass-Einsätze war Florian Boesch. There is a complete solution for soloists with a stimulating effect, quick enjoyment and sufficient care for a solo setting. If Vehemenz and Nachdruck de Klang fly and have the power over the vergleich wenigen, er je hatte, sehr fell.

If all in the Aren, Rezitativen and Choren a musical endringlichen Abend, the critical and spatially diverse Handlung weit in the Background treten and dadurch that feierliche Stimmung the Upperhand ließ.