La belleza contenida y atemporal de Brahms, Neuwirth y Schönberg

By Maria Sánchez, 28 November 2022

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Reviewed at L'Auditori: Sala Pau Casals, Barcelona on 26 November 2022

Brahms, Clarinet Sonata no. 1 in F minor, Op.120 no.1

Neuwirth, Masaot / Clocks without Hands

Schoenberg, Pelleas und Melisande, Op.5

Andreas Ottensamer, Clarinet

Barcelona Symphony Orchestra and National Orchestra of Catalonia

Matthias Pintscher, Conductor

Haydn, Sor and Mozart return live in Barcelona

Laurence Vittes, 8th July

Mozart's Clarinet Concerto started out naively impetuous, quick, breathless as if on the way to an assignation

****1

Ono/OBC: Compelling Respighi and Bartók, disappointing Brahms

David Karlin, 5th October

It's a game of two halves in Barcelona from Kazushi Ono and the Orquestra Simfònica de Barcelona i Nacional de Catalunya.

***11

Turandot in Tokyo: A bold reimagining of the ending

Nahoko Gotoh, 18th July

Alex Ollé focuses in the princess's trauma to provide a back story for Puccini’s problematic last opera; Eri Nakamura captivates the New National Theatre audience.

****1

Zimmermann's Bach and Schumann stand out in Barcelona

Pep Gorgori, 15th December

This season, the Orquestra Simfònica de Barcelona i Nacional de Catalunya (OBC) is turning its eyes towards Bach, whilst at the same time programming the usual great symphonic repertoire, as well as contemporary composers. Here, Kazushi Ono gathered a Bach concerto (transcribed for violin), a rarely-performed work by Schumann and Richard Strauss’ Also sprach Zarathustra.

***11

Julian Rachlin thrills in Tchaikovsky's concerto in Barcelona

Pep Gorgori, 30th September

The bonds between Kazushi Ono and the OBC musicians are slowly improving.

****1

Bach dressed by other composers in Barcelona

Pep Gorgori, 28th April

Bach presented in various orchestral transcriptions made for a powerful, entertaining evening in Barcelona.

****1

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Maria Sánchez

Nacida en Barcelona, se formó musicalmente a una edad temprana y de manera autodidacta. Graduada en Historia del Arte (Universitat de Barcelona) y posteriormente formada en el máster Música como Arte Interdisciplinar (Universitat de Barcelona / ESMUC / Universitat Rovira i Virgili), se especializó en el estudio y creación de nuevos lenguajes escénicos y musicales. Ha llevado a cabo la creación de proyectos dramatúrgicos en torno a la reformulación del mito clásico en las artes escénicas contemporáneas, eje vertebral de sus estudios. En la actualidad, continúa proyectando nuevos discursos y planteamientos sobre la supervivencia del mito en lo social y lo artístico.

La belleza contenida y atemporal de Brahms, Neuwirth y Schönberg con la OBC de Matthias Pintscher