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* The concert scheduled on September 21th in Certosa di Pavia cannot be organizsed there (for some reasons of protection of this artistic place) and will be organized in Abbazia di Chiaravalle (territory of City of Milan)wink
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 2007/01: LA VERDAD.COM (Venezuela) -03-01-2007
 2007/02 : GRANMA - Havana concert (in spanish)
 2007/02: PRENSA LATINA - The Havana concert (in spanish)
 2007/02:BLOOMBERG.COM - Claudio Abbado Battles Unions, Practices Orchestral Therapy
 2007/03: CADENA GLOBAL (in spanish)
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 2007/07: GRAMOPHONE (JuIy 2007): Brahms/Schumann Gutman/Abbado
 2007/07: International Record revIew: Mahler VI(Robert Matthew-Walker)
 2007/09: New York Times - LFO in New York (by DANIEL J. WAKIN
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 2007/10: International Herald Tribune (Oct 4th)
 2007/10: New York Times (Oct.8th) - Concert Mahler on October 6th (JAMES R. OESTREICH)
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 2008/03: Diapason (France), a nice critic
 2008/03:Interview with Fidelio's director Chris Kraus (Giulia Bassi)
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 2008/04: FIDELIO/www.bloomberg.com (April 7th)
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 2009/08:The Guardian, 08/08/08, interview with Cllaudio Abbado
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Abbadoseul1bTP.JPGAbbado in the media - 2008/04: MADRID - Avui.cat (Avril 27th)

Música

El miracle Abbado


Xavier Cester

Claudio Abbado en ple assaig de 'Fidelio' al Teatro Real de Madrid el primer cop que el gran músic italià dirigia òpera a l'Estat




Claudio Abbado és per mèrits més que demostrats un dels directors més rellevants de les últimes dècades. Arran de la malaltia que fa uns anys el va dur prop de les portes de la mort, el músic italià ha arribat gairebé a la beatificació, si jutgem per la veneració amb què són rebuts els seus projectes simfònics i operístics. El risc de l'embadaliment acrític és present; ara bé, de la beatificació a la santificació hi ha només un pas, per al qual la condició sine qua non és demostrar miracles. Bé, el cronista pot certificar, a partir de la interpretació a Madrid de Fidelio, que Claudio Abbado en fa.

L'italià és d'aquella mena de directors no tan freqüent com creiem que no cessa mai d'evolucionar, de qüestionar i qüestionar-se, de buscar noves vies per arribar a aquest ideal sempre inassolible que és la interpretació perfecta, un camí que l'ha dut, a punt de fer 75 anys, a interessar-se pels instruments originals creant l'Orquestra Mozart. Tot i que sense emprar instruments antics, una altra filla seva, l'Orquestra de Cambra Mahler, no té por d'apropiar-se algunes de les lliçons del moviment historicista, esperonada per la batuta vitalista d'Abbado.

El seu Beethoven actual està lluny de les simfonies que va signar fa una pila d'anys al Palau de la Música amb la Filharmònica de Viena i una bateria de contrabaixos al fons de l'escenari. La collita 2008 és pura fibra i zero greix, amb un so d'una transparència inaudita, ben lluny de temptacions d'engruiximent postwagnerià i gens renyit amb una innegable consistència, aconseguida amb l'equilibri entre una corda de vibrato reduït al mínim i un vent justament realçat, amb petits ensurts de les trompes, cert, però amb una fusta penetrant.

Gran home de teatre (La Scala i l'Òpera de Viena han estat fites en la seva carrera), Abbado sempre juga a favor de les veus, la qual cosa no vol dir, gens ni mica, que els sigui servil. Pocs cops hem sentit en un teatre d'òpera tants pianissimos d'orquestra, solistes i cor: tots respiraven a l'una. No cal dir a aquestes altures que hi va haver passatges d'una indescriptible bellesa: el cànon, el cor de presoners (des del tímid, exsangüe murmuri inicial al clam impetuós de "Freiheit"), un "O namenlose Freude" no pas convertit en un combat de decibels entre Leonore i Florestan sinó en una entendridora trobada entre els esposos llargament separats.

Per sobre, tanmateix, de la concepció sonora de la partitura de Beethoven, el que més admira és la concepció global de l'obra, la gradació impecable de la trama, des de la lleugeresa de les escenes domèstiques al dramatisme més punyent que desemboca en el catàrtic big bang conclusiu.

A l'acabar l'estrena, molta gent felicitava Antonio Moral, director artístic del Teatro Real. De motius n'hi havia, perquè el coliseu madrileny -que fa uns anys va optar per prescindir de les visites de la Staatsoper de Berlín, en part pel cost, en part perquè no deixava de ser contraproduent que els grans èxits de la temporada els protagonitzessin sempre els de fora-, s'ha apuntat un gran trumfo coproduint aquest espectacle. No només perquè era el primer cop que Abbado dirigia òpera a l'Estat, sinó perquè sempre es pelegrina als llocs on s'esdevenen els miracles.


Notícia publicada al diari AVUI, pàgina 46. Diumenge, 27 d'abril del 2008


Creation date : 27/04/2008 @ 22:56
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Category : Abbado in the media
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