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Controlled intoxication: Constantinos Carydis with the BR Symphony Orchestra

2023-12-02T12:18:55.559Z

Highlights: Constantinos Carydis delivers a spectacularly good evening at the podium of the BR Symphony Orchestra - with a clever programme. The overarching theme is national music. With Respighi later, it's all controlled intoxication. It is striking how Carydis treats the subtleties of the scores, how he searches, finds and clears. No matter what he conducts, just remember his "Idomeneo" at the Munich Opera Festival, will be spectacularlyGood. Basically, you want everything from Carydis: Baroque, Viennese Classicism, Romanticism, Modernism.



Status: 02.12.2023, 13:05 PM

By: Markus Thiel

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Constantinos Carydis at the rehearsal. © Astrid Ackermann

The new boss Simon Rattle could be jealous of this guest: Constantinos Carydis delivers a spectacularly good evening at the podium of the BR Symphony Orchestra - with a clever programme.

In the last scene, the orchestra prepares for a great departure. First march in as if from afar to roll over the Via Appia with bombast and brass pomp. In the Isarphilharmonie, this is even flanked by distant trumpets and trombones in the gallery. And soon you can feel in the pit of your brain and stomach that this is a false triumph, or at least a contestable one.

However, this final scene from Respighi's "Pini di Roma" has to be staged in the same way as Constantinos Carydis at the podium of the BR Symphony Orchestra. As a threatening rebellion out of the darkness of the night, telling, loud and dangerous. And the ensemble throws itself into the smash hit, even before with Respighi's "Fontane di Roma", with exquisite solos and an inner tension that would have filled the new boss Simon Rattle with envy of the guest if he had been there.

The overarching theme is national music

Carydis, formerly Kapellmeister at Gärtnerplatz, is now a free radical of the scene. No matter what he conducts, just remember his "Idomeneo" at the Munich Opera Festival, will be spectacularly good. A stylistically polyglot who is now taking on the topic of national music at the BR guest performance. A folklore refined into a concertante, composed by representatives of moderate modernism.

This does not steam with concept sweat, but becomes an ear-opening experience. Right at the beginning, in the "Four Pictures" for orchestra by the Greek Nikos Skalkottas (1904-1949), when the BR Symphony Orchestra makes use of plays of colour and nuance with relish, the XXL Big Band also performs. With Respighi later, it's all controlled intoxication. It is striking how Carydis treats the subtleties of the scores, how he searches, finds and clears, how he clarifies mixtures and trusts in the wonderful solos without ever becoming demonstrative. A precise, decisive designer with excellent craftsmanship, who can turn small knobs as well as spur the giant formation to speed and reaction strength.

Both Respighi tone poems are constantly connected by "Air" by Tōru Takemitsu, (1930-1996), which Henrik Wiese plays as a flute solo detached from everything and yet tangible. In addition, there is the "Chants d'Auvergne" by Joseph Canteloube (1879-1957), folk songs enlarged in orchestration, sung by Louise Alder pointedly and without superficial operetta-likeness. And at some point you think to yourself: Basically, you want everything from Carydis. Baroque, Viennese Classicism, Romanticism, Modernism. Which means: The man has to come back urgently.

Source: merkur

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