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The Sixteen: la exquisitez de la polifonía bien interpretada

Von Pablo FitzGerald Cerdán, 30 April 2017
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Veranstaltung anzeigen
Rezensierte Veranstaltung: Auditorio Nacional de Música, Madrid, am 27 April 2017
Programm
Allegri, Missa Che Fa Oggi Il Mio Sole: Kyrie
Palestrina, Missa Papae Marcelli: Gloria
Allegri, Miserere Mei
Anerio, Magnificat a 8
Marenzio, Che fa oggi il mio sole
Allegri, Missa Che Fa Oggi Il Mio Sole: Sanctus and Benedictus
Anerio, Ave Regina Caelorum a 8
Anerio, Stabat Mater a 12
Allegri, Christus resurgens ex mortuis, motet for double choir
Palestrina, Assumpta est Maria
Darsteller
The Sixteen
Weitere Konzert Kritiken
Bach and Gluck resound in Bath Abbey with The Sixteen
Roy Westbrook, 21st February
Large ecclesiastical buildings, with their hard surfaces and long high naves, are challenging for complex music like Bach’s.
****1
Angel of Peace: The Sixteen’s annual choral pilgrimage
Leighton Jones, 4th April
Harry Christophers and The Sixteen refresh their choral pilgrimage with works old and new, that show innovative programming at its imaginative best. 
*****
Heavenly sounds from The Sixteen with Harry Christophers in Dublin
Andrew Larkin, 20th June
The Sixteen offer glorious tones, smooth polyphonic lines and vivid word paintings at the National Concert Hall. 
****1
Uneven Mozart and Haydn from The Sixteen at Cadogan Hall
Mark Valencia, 16th February
The Sixteen’s work is spoilt by a shortage of violins and some uneven solo contributions. Such imperfections only serve to highlight the excellence of the very best. 
***11
The Sixteen and Julian Joseph: a one-sided conversation
David Karlin, 27th January
The latest instalment of Kings Place's “Sound Unwrapped” series delivers wonderful musicianship in both jazz and early music, but not the promised “continuous fusion of styles”.
***11
Exalted Messiah: The Sixteen and Harry Christophers
Roy Westbrook, 6th December
How do you conduct the same over-familiar work for the 200th time, and make it sound quite new?
*****
Weitere Kritiken...
Kritiken von
Assumpta est MariaChristus resurgens ex mortuis, motet for double choirFelice AnerioGiovanni Pierluigi da PalestrinaGregorio AllegriLuca MarenzioMagnificat a 8Miserere MeiThe Sixteen
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Madrid für klassische Musikliebhaber
Pablo FitzGerald Cerdán
Pablo FitzGerald Cerdán
Pablo FitzGerald Cerdán (Madrid, 1994) estudió el grado medio de guitarra clásica en el Conservatorio Profesional de Música de Arturo Soria, y actualmente estudia el grado medio de Instrumentos de Cuerda Pulsada del Renacimiento y el Barroco en el mismo centro, además de cursar, desde 2012, el Grado en Musicología en la Universidad Complutense. Como intérprete de música antigua, ha realizado cursos de perfeccionamiento y forma parte de grupos especializados en la interpretación de este repertorio, además de presentarse como solista. Como musicólogo ha ofrecido conferencias. Colabora también con la revista Síneris y es cofundador del blog 'Lírica para todos'.