The exceptional tool, a Stradivari 1700 the value of 9 million euro, offering amazing emotions Olimpico
Whether it's a treasure it is undeniable: with his 9 million euro it is also risky and challenging to move a few meters. Yet the violoncello “Stauffer former Christians”, courtesy of the Foundation Walter Stauffer came from Cremona to Vicenza, starring in a beautiful concert for the Music Weeks. With an escort worthy of a high official rank and which protects its valuable safety. Nothing too, if you think that is one Stradivari made by him in 1700 and it is considered unanimously one of the finest cellos in the world. Still in a state of exceptional preservation It stands for beauty of wood d'steel, spruce soundboard and paint red brown so bright not prove to have over 3 centuries. This outward appearance. But what characterizes each of the Baroque instrument and “award-winning factory” the Cremonese violin makers is rubber stamp, ie its anima. Rather, this is real voice.
To sing this absolute prima donna, on stage at the Teatro Olimpico was the cellist Luca Fiorentini that with the pianist Stefania Redaelli It offered the integral of'Works for cello and piano by Felix Mendelssohn Bartholdy. an authentic “treat” double peculiarity: because of these, a composition, “song without Words”, He was dedicated to him at the same Lise Christians, first woman cellist in history and so respected by give his name to this jewel of Italian violin making. Of Italian descent but born in Paris on 24 December 1827 was great virtuous, just 18 he became a professional and performed throughout Europe by bringing his art to the extreme southern Russia, where he died of cholera just 24 years old at Nowo-Tscherkask.
His instrument is returned to speak at the Olimpico and if it is true that every instrumentalist gives and leave something of his talent in the wood he uses during his career, at times, with a thrill out of time, It seemed to hear the inner voice of this artist, who then played with the Mendelssohn “Song Without Words” op.109. But the concert was a continuous succession of emotions and vibrations intimate from the initial Variations concertante op.17 and then touch the Sonata op.45, extremely romantic page, loads of momentum but deeply classic, with a predominant use of the keyboard and where the Andante is a beauty “indecent”. Fiorentini and Redaelli show the best of their cohesion, in a dialogue which now claims the other's evolution, now anticipates, with a softness of sound and expressive variety that leaves nothing to chance but that transmits immediate freshness. Brilliant their interpretation. Warm Public Participation and melancholy and ethereal encore: “Albumblatt” for piano and cello, written in the 1835 for use “familiar” and published only recently.
Il Giornale di Vicenza. – 29/05/2012 Vicenza