A treasure more precious cello Weeks

The exceptional tool, a Stradivari 1700 the value of 9 million euro, offering amazing emotions Olimpico. “Eva Purelli VICENZA That it is a treasure is undeniable: with his 9 millions of euros is risky and demanding even to move it for a few meters. Yet the cello “Stauffer former Christians”, courtesy of the Walter Stauffer Foundation he came from Cremona to Vicenza, starring in a wonderful 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 it is a Stradivarius he made in 1700 and is unanimously considered one of the most beautiful cellos in the world. Still in an exceptional state of conservation, it stands out for the beauty of the maple wood, the spruce of the soundboard and the varnish with a brown-red color so bright that it doesn't prove to have more 3 centuries. This outward appearance. But what characterizes each of the Baroque instrument and “award-winning factory” of Cremonese luthiers is the stamp, ie its soul. Rather, this is real voice. To sing this absolute prima donna, on the stage of the Olympic Theater was the cellist Luca Fiorentini who with the pianist Stefania Redaelli offered the complete work 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 female cellist in history and so authoritative that she gave her 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. The concert, however, was a continuous succession of intimate emotions and vibrations from the initial Variazioni concertanti op.17 to 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 Redaelli and 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 interpretazion. Warm public participation and melancholy and ethereal encore: “Albumblatt” for piano and cello, written in the 1835 for use “familiar” and published only recently. © REPRODUCTION RESERVED”