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A Requiem with two ... Walter Heinrich

Friday, April 15, 20:00 . Auditorio de Oviedo, Special Easter Concert : OSPA, Choir of the Prince of Asturias Foundation (choirmaster: José Esteban García Miranda ) , María Espada (soprano), Klaus Hager (baritone) , Maximiliano Valdés (director). A German Requiem, Op 45 ( Brahms).
When approaching Easter concerts abound and programming "preparatory" the personal journey of each, either from the religious, leisure, enjoyment emotional or who knows what ... What a great idea of \u200b\u200bour OSPA program each year this special concert outside the subscription, but giving us the "partners" the same location as the rest of the season. The news in the local press was the "return Valdés" , even adding "with orchestra and choir , which was true but nothing" newsworthy "because the work planned and written, and the return of director Chile now Puerto Rico was not tourism but professional . In interviews
press continues to refer to our training and everything can still himself (and not direct message to the manager but for the Governing Council itself in times of hacks by the crisis that neither our fault ) commenting that "is what is best in the Principality" , I guess it relates to cultural and exportable, as in the orchestral field, despite having several formations obviously the OSPA is ALL in payroll taxes paid for with all the Asturian, unlike other ... Finally I blush to read his statement " The OSPA plays very well, is a pleasure to " as if his first time. I really do not devote more space, but if you ensure that the orchestra is much better from his voluntary departure across the Atlantic .

in Gijón Thursday and Friday in Oviedo the wonderful, exciting and challenging score brahmsiana , Excellently discussed in the notes of Irusta Rafael Banus and the lyrics and its translation into English, back in the voices of our CHORUS "Asturias ambassador" and reference after recent lisboetas concerts plus Mexican tour, hard, exhausting and demanding by works sung there, but I think personally helped them achieve excellence concert. Were the true stars of Requiem, a work that has long dominated faced from the quality of all the strings, especially, and the weight this time, the sopranos but sounding all EVER: refined, pasted, balanced, powerful and secure without any cry, sweet, technically perfect, with pp he had forgotten them, "taste", lingering, enjoying each number , projecting the voices never covered by the orchestra (otherwise not very controlled dynamics), colorful romantic passages in with the wind really made, and a capella reminding best of a group that has faced the brunt of symphonic and choral repertoire in the forefront and voices of the earth (the quarry also note). Congratulations to everyone for the excellent work done Pepu , finally collecting and recreating what has been sown in a score for chorus really sublime, while Brahms always a fetish author for them.

The second protagonist of the German Requiem was Extremadura María Espada (Mérida, 1969): aria only its fifth issue ( Habte Ihr nun Traurigkeit ) is enough to elevate it as the voice of reference in these programs finally " desencasillada " of repertoire that has made working continuity ( Form Antiqva known firsthand ), and a tasteful , excellent technical issue, plus a color personal voice and overwhelming for this Brahms, finally made Requiem be "about two" (not to repeat my banner " a couple ").
Well renowned German baritone Klaus Hager (1965) , which replaced the originally scheduled Michael Nagy, soloistic perfect complement to the mezzo , helped in the not too serious orchestral dynamics, although the chorus, great again, and a repertoire for baritone voice dominates believe that even better than the opera making it succeed is since years. Their interventions were convincing and not a mere formality, with moments of tension contained ( Herr, Lehre doch mich ) who came to move. In our orchestra
, today was the best wind, wood soloists really involved, and a metal that at times sounded organistic. A rope can be seen today "academically" (do not know the reason for the director to change his approach), he lacked power and above all "stuck" in the bass, and with some reluctance for a work that does not break it and not where they were merely following the score. Of course, from the podium only marked them dynamic Agogo and little more ...
I said, this time highlighted and MARY CHOIR , "A Requiem with two." PD

1: Review of the concert on Thursday in Gijón by Ramón Avello in Trade Saturday 16.

PD 2: Review of Diana Diaz in LNE Sunday 17.