Vier Violinen und ein Mezzo: La Serenissima in der Wigmore Hall

By Jens Klier, 01 April 2021

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“abgezockte Lockerheit und mühelose Eleganz”

Reviewed at Wigmore Hall, London on 31 March 2021

Telemann, Concerto in G major for four violins, TWV 40:201

Ariosti, Caio Marzio Coriolano (Act 3, Scene 8)

Vivaldi, Concerto for 4 violins in B flat major, RV 553

Valentini, Concerto for four violins in A minor, Op.7 no.11

Telemann, Concerto in D major for four violins, TWV 40:202

Vivaldi, Amor hai vinto, RV 683

La Serenissima

Adrian Chandler, Violin, Director

Jess Dandy, Contralto

Don't look back: Longborough's new L'Orfeo

Roy Westbrook, 11th July

Olivia Fuchs directs Monteverdi's early opera in a sparse staging with a consistently fine cast.

***11

A tale of two fiddlers at St Martin-in-the-Fields

Mark Pullinger, 11th February

Giuseppe Antonio who? Adrian Chandler and La Serenissima make a case for the works of Brescianello on a bill shared with the Red Priest.

***11

Summer storms in November: La Serenissima

Alex Tay, 21st November

La Serenissima bring a fresh interpretation to a seasoned classic in Cambridge.

****1

Calms and storms: La Serenissima

Travis Mason, 4th December

Adrian Chandler and La Serenissima showcase dramatic Vivaldi motets in a lively programme of lesser known Pietà music.

****1

The Dawn of the Stradivarius: James Ehnes and La Serenissima in Oxford

Katy Wright, 14th June

“The name Stradivarius had an air of magic to me.” Virtuoso violinist James Ehnes’ statement manages to capture the air of reverence which underpinned Friday’s Music at Oxford concert. The gala marked the opening of the UK’s first Stradivarius exhibition at Oxford’s Ashmolean Museum, and two violins from the exhibition were on temporary release for the evening.

****1

A tale of two fiddlers at St Martin-in-the-Fields

Mark Pullinger, 11th February

Giuseppe Antonio who? Adrian Chandler and La Serenissima make a case for the works of Brescianello on a bill shared with the Red Priest.

***11

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Jens Klier

Vor seinem Rechtswissenschafts-Studium in Bayreuth und Bonn widmete sich Jens Klier seit frühester Kindheit musikalisch der Violine (Repertoire vom 17. bis 20. Jahrhundert). Während er zudem mit Gesang und dem Leben im Orchesterbetrieb groß wurde, entwickelte sich ein besonderes Interesse an der sogenannten 'Historischen Aufführungspraxis' und authentischen Instrumenten. Diese Leidenschaft hält sich hartnäckig, sodass er sie mit Vorliebe für das Barocke anstatt mit Finger und Bogen nun in Form der Musikkritik zu Gehör bringt. U.a. Telemann-Fan, Liebhaber J. S. Bachs Genies und Entdecker neuerer, seltenerer 'Alter Musik'.

Vier Violinen und ein Mezzo: La Serenissima bei den Spring Series der Wigmore Hall