Trieste - Teatro Verdi: Maxim Vengerov and Polina Osetinskaya in concert →

After the resounding success of the inaugural concert, with a program of singular dedicated to ancient music, the second round of the Festival of Trieste foresaw an evening more “normal”, dedicated to the music from the room but with another big name among the actors, after that of Jordi Savall.
The protagonist of the concert was, in fact, Maxim Vengerov, one of the violinists most well-known on the international scene, who made his debut in Trieste.
I said of the program, really challenging, which

is unravelled in a crescendo of enthusiasm of the audience between the atmospheres purely chamber of the initial piece of Clara Schumann up to the tense uneasiness of the twentieth century by Sergei Prokofiev.

Maxim Vengerov was accompanied at the piano by Polina Osetinskaya, which, with her pianism robust and determined, she has spoken with great relevance for the styling with the resolute Russian artist.

In the first part of the evening atmosphere quite soft and then, with the Joke from the famous sonata F-A-E theme " to make the link between the kind of melodies salottiere of Clara Schumann, and the most decided and contrasted, especially in the first movement, the suggestions of Robert Schumann's most lively that asks a lot in the final to the two soloists, both very good and certainly not stingy with virtuosity.
After the break it was the turn of Prokofiev, which were performed two songs rather different for the inspiration.
In the Five songs without words for violin and piano op.35 coexist happily charms different between harmonious openings melodic and luciferini flashes of virtuoso taste almost iconoclastic.

In the Sonata for violin and piano no.2 in a minor, which unfolds in four movements and is a transcription – strongly advocated by Ojstrach – one page for music that saw the protagonist of the flute, the pace is dizzying, and the emotional valence genoa, take your breath away, so much so that the short fragments more linear, seem to be almost indispensable to relieve the tension.

As in the case of Savall, useless to describe the virtues of one of the most celebrated soloists of the time, but undoubtedly the presence of Vengerov on stage was charismatic and engaging.

Also, after an evening full, the soloists have granted a three-bis anything but routine, again drawing inspiration from the repertoire of Prokofiev and evoking another great Russian Sergei Rachmaninoff.
The public pretty numerous, and, of course, in raptures, has decreed that the great success of the second evening of the Festival of Trieste.

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