Review written by Mario Dal Bello, posted on Citta Nuova, a bi-weekly magazine, as of March 1.
Original review site
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Duet of youth
The young Colombian director Andrés Orozco-Estrada debuted at Accademia Nazionale di Santa Cecilia with pianist Rafał Blechacz with "Concerto no. 4 for piano and orchestra "by Beethoven
Andrés Orozco-Estrada is 35 and Rafał Blechacz 27. The first is a Colombian, exuberant, director on the rise, the second is a Polish, fragile, romantic-looking, from 2005 he’s been outperforming the pianists from around the world when he performs, especially Chopin. Together for the first time in Rome, the Colombian debuts at the Accademia Nazionale di Santa Cecilia, already home for the Polish.
He plays the Concerto for piano and orchestra No.4 by Beethoven. It is a duet, a dialogue not only between the instrument and the orchestra, but between the two interpreters. Both have rigor, precision, decision. Blechacz sways the music, but is attentive to the "inputs" of the orchestra, to which he nods, directing for him. Andres is snappy, makes the violins to give dryness, rhythm alle "arcate", wants fire in the final, and makes the orchestra sing with meticulous answers to the pianism of his partner. A certain tension is felt, which is just good for the concerto.
The fourth concert of Beethoven, years 1805-1806 (between the Eroica and the Fifth Symphony) is enigmatic. It begins introducing the piano only to bring in the orchestra with themes descendants, mysterious, one might say. It's like a sudden move between shadows and lights. The touch by Rafał is crystal clear, sparkling light: not a single note dark, out of place, each one perfect. No heaviness, more agility. Rafał is cool inside, so the second movement, Andante con moto, so liquid and elusive, it is light, its ambiguity, which evokes some kind of mysteries, not heavy. The finish is a mountain stream, full of life. Rafał has fire (fuoco) but he holds it, measures it. The result is a youthful Beethoven, nuanced, but luminous as a bright sky.
Andres has expressed all the fire of the score, in an interchange with the pianist for the savory result. He gestures clear, open, smiling face and story. He enjoys making music with others, always been accustomed, as you see. None of the western directors full of themselves (?), even if Andres knows very well the technique, be sure to point out nuances and accents from the instruments (which followed him, see the oboe), he is relaxed, cheerful. The duet between two young musicians produces Beethoven precise, fiery but also elegiac. Power of dialogue, it seems.
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