Russian troika bogged down in the quest for authenticity in Bruges

By Marc Haegeman, 30 November 2019

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“Vinnitskaya blended seamlessly in the ensemble playing... offering sparkle and great clarity”

Reviewed at Concertgebouw Brugge: Concert Hall, Bruges on 29 November 2019

Rimsky-Korsakov, Russian Easter Festival Overture, Op.36

Rachmaninov, Vocalise, Op.34 no.14

Rachmaninov, Rhapsody on a Theme of Paganini in A minor for piano and orchestra, Op.43

Prokofiev, Romeo and Juliet: Suite no. 2, Op.64ter

Anima Eterna Brugge

Jos van Immerseel, Conductor

Anna Vinnitskaya, Piano

Antonini and Anima Eterna deliver Beethoven back to the future

Laurence Vittes, 21st March

The performance recalled Jos van Immerseel's remark that Beethoven’s music sounds less modern on the instruments of our time than it does on those of the early 19th century.

*****

Splendid playing but uninspired Beethoven performances

Zoltán Szabó, 23rd January

Historically informed Beethoven on period instruments in Sydney, but where was the interpretation?

***11

Disciplined expressiveness: Anima Eterna in Sydney

David Larkin, 22nd January

The Belgian period-instrument ensemble Anima Eterna Brugge deliver controlled but expressive performances of Beethoven's Symphonies 8 and 7 as part of a complete cycle in Sydney

****1

Freedom, Equality, Inimitability

Jens Klier, 1st October

Jos van Immerseel and Anima Eterna present a rich programme full of colour and transparency.

****1

Czech masters as you've never heard them

David Karlin, 13th March

In the acoustic wizardry that is Concertgebouw Brugge, Jos van Immerseel and Anima Eterna deliver a feast for the intellect, if not for the senses, in their exploration of the great Czech composers.

***11

Aus historischem Hain: Smetanas Má vlast mit Anima Eterna Brugge

Jens Klier, 13th September

Mit spürbarem Herantasten zur vollen Farbigkeit entwarf das Orchester ein aufregendes, texturiertes Bildnis Smetanas naturalistischen und helden-melancholischen, legendären Vaterland-Zyklus.

****1

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Marc Haegeman

Marc Haegeman graduated as a historian from the University of Ghent. He developed a keen interest in music, ballet, photography and nature. As a dance writer and photographer he contributed to leading dance magazines in the last 20 years, including The Dancing Times, Dance International and Ballet2000, and has been working with companies worldwide. His classical music reviews appeared in Classical Net and on his blog I used mostly my ears. He is particularly interested in Russian music and the piano. When free, he loves spending time in nature, photographing landscapes and wildlife.