Pureza de sonido
Salvado rápidamente el difuso momento de entrada del violinista, a Vadim Repin, de perfección técnica y sonido puro y elevado, se le escucha con gran placer. Toca con mucha naturalidad, sin que se aprecien las dificultades que contiene el Concierto de Beethoven. La expresividad romántica fue algo que flotaba serenamente en la sala. Las cadencias del primer y tercer movimiento se oyeron en toda su perfección El director Orozco-Estrada propició que el solista abundase en el lirismo que desborda la partitura. Alegre y entretenido el breve arreglo sobre el "Carnaval de Venecia" ofrecido como propina.
La elección del titular de la Orquesta de Euskadi de la séptima Sinfonía de Dvorák fue buena muestra de cómo entre podio y orquesta está creciendo una acertada afinidad artística. Con su peculiar y expresivo gesto ofreció una versión vivaz, destacando lo mucho que de intenso romanticismo nacionalista contiene la Sinfonía.
KARMELO ERREKATXO - CRÍTICA MUSICAL
Sep 26, 2010
Aug 26, 2010
22-08-2010
Derroche de disciplina
Si tuviéramos que definir a la Orquesta Nacional de Rusia por secciones, deberíamos destacar, sin duda, su extraordinaria, empastada, equilibrada y cálida cuerda y quizá citar a los metales como los instrumentos menos inspirados. Esa fue la sensación más acusada que produjo la escucha de la 'Obertura rusa' de Golovanov, un collage de temas de su país no demasiado interesante desde el punto de vista compositivo, pero tremendamente variado, brillante y festivo.
La orquesta se lució aún más en el 'Concierto para violín en re menor' de Tchaikovsky, que contó con un solista con tantísimo nivel que pudo pasearse con chulería por el virtuosismo que impone la obra. Las triples cuerdas, los grandes intervalos o la peligrosa cadencia del primer movimiento no parecieron suponerle ninguna dificultad. Vadim Repin hizo bailar a su Stradivarius y con él al público, que a pesar de aplaudir a rabiar, no consiguió arrancarle ninguna propina.
Pletnev, de gesto comedido pero eficiente, y lleno de interesantes ideas musicales, sacó chispas a la 'Sinfonía nº 15' de Shostakovich. Realmente sombrío y solemne fue el 'Adagio', lleno de curiosos solos instrumentales. La ironía latente en el 'Allegretto' y el original final en 'Adagio', con una coda llena de finura, volvieron a dejar claro el alto nivel de su orquesta, construído, sin duda, a base de disciplina.
MARÍA JOSÉ CANO
Aug 20, 2010
5-08-2010
Schleswig-Holstein Musik Festival
(3 August in der Reithalle Wotersen)
Stargeiger Vadim Repin verzauberte sein Publikum
Donnerstag, 5. August 2010 04:00
Wotersen (gb). Ein Feuerwerk der Klassik bot sich den begeisterten Zuhörern in der Reithalle auf Gut Wotersen. Eigentlich erlebten die rund 900 Gäste sogar zwei Konzerte in einem:
Bis zur Pause ertönte Kammermusik vom Feinsten, meisterhaft und virtuos dargeboten vom "Polish Chamber Orchestra". Das seit 1973 bestehende, mit erlesenen Musikern besetzte Ensemble kennt und duldet spieltechnisch keine Kompromisse, spielt stets am Limit und so perfekt, dass es - zumindest bei Mozarts Divertimento D-Dur (KV 136) - fast zu viel war. Atemberaubend schnell, ausgesprochen präzise, jedoch mit einem permanenten Legato glatt gebügelt die Ecksätze (Allegro und Presto), dazwischen ein wunderbar gestaltetes Andante.
Der Höhepunkt erfolgte jedoch nach der Pause. Der 1971 in Sibirien geborene Vadim Repin, der mittlerweile mit allen bedeutenden Orchestern der Welt musiziert, zählt zur obersten Liga der Violinkunst. Stilecht, virtuos, teils zigeunerisch verträumt, teils eisern diszipliniert, realisierte Repin den Solopart des Violinkonzertes d-Moll von Felix Mendelssohn. Das Konzert, vom 13-jährigen Mendelssohn komponiert, hat bis auf die "klassischen" drei Sätze keine ausgeprägte Form, vielmehr ist ihr Aufbau von jugendlicher Fantasie geprägt. Dies kostete Repin, in stetigem Blickkontakt und perfektem Einklang mit Orchester, aus.
Den "Teufelsgeiger" ließ er in der Carmen-Fantasie raus: Die Musik von Bizet verarbeitete Franz Waxman, ein Oberschlesier jüdischer Abstammung, der vor den Nazis nach Amerika geflüchtet war und in Hollywood als Komponist Karriere machte. Was Vadim Repin aus diesem Stück macht, kann nur faszinieren. Nach dem Riesenbeifall setzte Repin mit der Zugabe noch eins drauf: Variationen "Carneval di Venezia" von Nicolò Paganini, dem deutschen Zuhörer geläufig als "Mein Hut, der hat drei Ecken".
(3 August in der Reithalle Wotersen)
Stargeiger Vadim Repin verzauberte sein Publikum
Donnerstag, 5. August 2010 04:00
Wotersen (gb). Ein Feuerwerk der Klassik bot sich den begeisterten Zuhörern in der Reithalle auf Gut Wotersen. Eigentlich erlebten die rund 900 Gäste sogar zwei Konzerte in einem:
Bis zur Pause ertönte Kammermusik vom Feinsten, meisterhaft und virtuos dargeboten vom "Polish Chamber Orchestra". Das seit 1973 bestehende, mit erlesenen Musikern besetzte Ensemble kennt und duldet spieltechnisch keine Kompromisse, spielt stets am Limit und so perfekt, dass es - zumindest bei Mozarts Divertimento D-Dur (KV 136) - fast zu viel war. Atemberaubend schnell, ausgesprochen präzise, jedoch mit einem permanenten Legato glatt gebügelt die Ecksätze (Allegro und Presto), dazwischen ein wunderbar gestaltetes Andante.
Der Höhepunkt erfolgte jedoch nach der Pause. Der 1971 in Sibirien geborene Vadim Repin, der mittlerweile mit allen bedeutenden Orchestern der Welt musiziert, zählt zur obersten Liga der Violinkunst. Stilecht, virtuos, teils zigeunerisch verträumt, teils eisern diszipliniert, realisierte Repin den Solopart des Violinkonzertes d-Moll von Felix Mendelssohn. Das Konzert, vom 13-jährigen Mendelssohn komponiert, hat bis auf die "klassischen" drei Sätze keine ausgeprägte Form, vielmehr ist ihr Aufbau von jugendlicher Fantasie geprägt. Dies kostete Repin, in stetigem Blickkontakt und perfektem Einklang mit Orchester, aus.
Den "Teufelsgeiger" ließ er in der Carmen-Fantasie raus: Die Musik von Bizet verarbeitete Franz Waxman, ein Oberschlesier jüdischer Abstammung, der vor den Nazis nach Amerika geflüchtet war und in Hollywood als Komponist Karriere machte. Was Vadim Repin aus diesem Stück macht, kann nur faszinieren. Nach dem Riesenbeifall setzte Repin mit der Zugabe noch eins drauf: Variationen "Carneval di Venezia" von Nicolò Paganini, dem deutschen Zuhörer geläufig als "Mein Hut, der hat drei Ecken".
Jun 13, 2010
8-06-2010
Violinstar und Diener: Vadim Repin mit Kent Nagano in der Philharmonie
Kein Flirt mit dem Publikum: Seine Mitteilung ist die reine Musik. Der Geiger Vadim Repin aus Nowosibirsk gehört zu den Glücksfällen der russischen Oistrach-Nachfolge, und wenn er das Violinkonzert von Beethoven spielt, steht die Kommunikation mit dem Orchester obenan. Die Interpretation ist ganz Klassik, Beethoven als genuiner Instrumentalkomponist, selbst wo Repins Violine singt. Mit subtiler Höhe und feinster Gliederung leuchtet seine Interpretation von innen, weil dieser Musiker den seltenen Typ des glanzvoll dienenden Virtuosen vertritt. Er hat keine dynamischen Manierismen nötig. Auch als der Beifall brandet, will der Ernst aus seinem Gesicht nicht weichen.
In diesem Frühjahr kehren die ehemaligen Chefdirigenten mit Gastspielen zu ihren Berliner Musikern zurück, Abbado zu den Philharmonikern, Inbal zum Konzerthausorchester und nun zuletzt Kent Nagano zu seinem Deutschen Symphonie- Orchester. In der kommenden Saison unterstützt er das DSO in chefdirigentenloser Zeit sogar mit drei Konzerten, die innerhalb eines Wahlabonnements angeboten werden. Die alte Vertrauensbasis ist da, wenn dolce das Hauptthema des Beethovenkonzerts als Folge der Paukenschläge einsetzt.
Darauf verteidigt der Maestro seine Favoritkomponistin Unsuk Chin, die ihm nicht nur die Uraufführung ihrer Oper „Alice in Wonderland“ 2007 im Münchner Nationaltheater verdankt. Ein „Lichtraum“-Werk „Rocaná“ (2008) erklingt. Das ist wiederum die erschwingliche Moderne einer Könnerin, die weiß, wie die Instrumente in ihren Klangfarben sprechen, flüstern und sich türmen. Schlagwerk ohne Ende, großes Orchester, Tuba bis Celesta.
Zum Schluss kommt „Don Juan“ von Richard Strauss so kompakt daher, dass es die typisch straussischen Kantilenen des Konzertmeisters Hartog nicht leicht haben. Aber im Ganzen ist es ein Abend der Soloviolinen. Sybill Mahlke
Kein Flirt mit dem Publikum: Seine Mitteilung ist die reine Musik. Der Geiger Vadim Repin aus Nowosibirsk gehört zu den Glücksfällen der russischen Oistrach-Nachfolge, und wenn er das Violinkonzert von Beethoven spielt, steht die Kommunikation mit dem Orchester obenan. Die Interpretation ist ganz Klassik, Beethoven als genuiner Instrumentalkomponist, selbst wo Repins Violine singt. Mit subtiler Höhe und feinster Gliederung leuchtet seine Interpretation von innen, weil dieser Musiker den seltenen Typ des glanzvoll dienenden Virtuosen vertritt. Er hat keine dynamischen Manierismen nötig. Auch als der Beifall brandet, will der Ernst aus seinem Gesicht nicht weichen.
In diesem Frühjahr kehren die ehemaligen Chefdirigenten mit Gastspielen zu ihren Berliner Musikern zurück, Abbado zu den Philharmonikern, Inbal zum Konzerthausorchester und nun zuletzt Kent Nagano zu seinem Deutschen Symphonie- Orchester. In der kommenden Saison unterstützt er das DSO in chefdirigentenloser Zeit sogar mit drei Konzerten, die innerhalb eines Wahlabonnements angeboten werden. Die alte Vertrauensbasis ist da, wenn dolce das Hauptthema des Beethovenkonzerts als Folge der Paukenschläge einsetzt.
Darauf verteidigt der Maestro seine Favoritkomponistin Unsuk Chin, die ihm nicht nur die Uraufführung ihrer Oper „Alice in Wonderland“ 2007 im Münchner Nationaltheater verdankt. Ein „Lichtraum“-Werk „Rocaná“ (2008) erklingt. Das ist wiederum die erschwingliche Moderne einer Könnerin, die weiß, wie die Instrumente in ihren Klangfarben sprechen, flüstern und sich türmen. Schlagwerk ohne Ende, großes Orchester, Tuba bis Celesta.
Zum Schluss kommt „Don Juan“ von Richard Strauss so kompakt daher, dass es die typisch straussischen Kantilenen des Konzertmeisters Hartog nicht leicht haben. Aber im Ganzen ist es ein Abend der Soloviolinen. Sybill Mahlke
May 20, 2010
20-05-2010
Reviews of the Mac Millan concerto dedicated to Vadim Repin and premiered in London on 12-05-2010
"On one level it's a brilliant tour de force which does everything a virtuoso could wish, combining some of the fast, furious, fiddling reels complete with signature drum the bodhrán which are in MacMillan's musical DNA with the necessary chance to let the violin sing - and how, in Repin's dazzling, pitch-perfect performance. Nothing stays the same for long, not even in the dreamlike central Larghetto, where any worries that the composer will let woodwind and soloist sit too long on sentimental songs are quickly banished by the kaleidoscopic revolution of events."
David Nice
"It was written for and played, with blinding virtuosity, by Vadim Repin who may well have answered the prayers of countless virtuosos for something new and audacious they could really play the socks off.
MacMillan always comes at music from his own Scottish perspective and this action-packed crowd-pleaser is essentially a compendium of song and dance digging deep into the primitivism of the distant past to unlock memories much closer to the present. There are dizzying, spinning reels, dirges and sentimental plaints with the violin often hauntingly evoking the "vocal" melismas of Celtic folk singers. One moment the fiddler is urging the entire string section to shake a leg, the next he's in blissful repose with piano and piping piccolo lending a tearful consonance. Wild and wacky, dark and subversive, even brutal – what isn't in the mix? The audience adored it. "
Edward Seckerson
"The three movements, 'Dance', 'Song' and 'Song and Dance' are tightly structured, and bear the hallmarks of MacMillan's style. Various percussion instruments such as marimba, vibraslap, and congos are all sensitively integrated into the orchestral colour, exceptionally realised by the LSO and neatly controlled by Valery Gergiev. The characteristically rich and expressive orchestral score bears glimpses of Bernstein, even Prokofiev, but the result is resoundingly MacMillan. Vadim Repin's unquestionable virtuosity made for a thrilling performance, yet never at the expense of the music, which is sure to become a central work of MacMillan's oeuvre."
Úna-Frances ClarkeD
"The titles of the three movements — Dance; Song; Song and Dance — give no warning of the violent rhythms within, nor the bludgeoning force of the eruptions; nor the demonic fury of the solo writing, whirling out dozens of notes a second; nor the enigmas enshrined in the piece. Why, in a stroke of nightmarish menace, does the orchestra start chanting the words of a German children’s song? What does that parodied waltz signify?"
The questions are unanswered and the tensions unresolved until the final scream of pain — a brutal collision of A minor and A major. But there were no unresolved doubts about the quality of this first performance. Vadim Repin gave an astonishing account of the solo part, which is like an unceasing torrent crashing over rocks; and Valery Gergiev steered the London Symphony Orchestra brilliantly. I just hope that other violinists and orchestras have the guts and ability to take it on."
Richard Morrison
"The Concerto is written in memory of MacMillan's late mother, and at its centre is a reminiscence of childhood in which Repin picks out the shapes of Celtic folk songs that eventually coalesce into a heart-on-sleeve melody of striking elegance. Elsewhere, however, the music is so eruptively profligate with ideas, that it occasionally loses focus. The opening movement examines the violin's role in dance bands as Repin plays furious Scottish reels in succession. The darker finale juxtaposes swirling violin figurations with both plainchant and a German nursery rhyme declaimed by the orchestral players. Staggeringly difficult, it was a tour de force for Repin, and thrillingly done by Gergiev and the LSO."
Tim Ashley
"On one level it's a brilliant tour de force which does everything a virtuoso could wish, combining some of the fast, furious, fiddling reels complete with signature drum the bodhrán which are in MacMillan's musical DNA with the necessary chance to let the violin sing - and how, in Repin's dazzling, pitch-perfect performance. Nothing stays the same for long, not even in the dreamlike central Larghetto, where any worries that the composer will let woodwind and soloist sit too long on sentimental songs are quickly banished by the kaleidoscopic revolution of events."
David Nice
"It was written for and played, with blinding virtuosity, by Vadim Repin who may well have answered the prayers of countless virtuosos for something new and audacious they could really play the socks off.
MacMillan always comes at music from his own Scottish perspective and this action-packed crowd-pleaser is essentially a compendium of song and dance digging deep into the primitivism of the distant past to unlock memories much closer to the present. There are dizzying, spinning reels, dirges and sentimental plaints with the violin often hauntingly evoking the "vocal" melismas of Celtic folk singers. One moment the fiddler is urging the entire string section to shake a leg, the next he's in blissful repose with piano and piping piccolo lending a tearful consonance. Wild and wacky, dark and subversive, even brutal – what isn't in the mix? The audience adored it. "
Edward Seckerson
"The three movements, 'Dance', 'Song' and 'Song and Dance' are tightly structured, and bear the hallmarks of MacMillan's style. Various percussion instruments such as marimba, vibraslap, and congos are all sensitively integrated into the orchestral colour, exceptionally realised by the LSO and neatly controlled by Valery Gergiev. The characteristically rich and expressive orchestral score bears glimpses of Bernstein, even Prokofiev, but the result is resoundingly MacMillan. Vadim Repin's unquestionable virtuosity made for a thrilling performance, yet never at the expense of the music, which is sure to become a central work of MacMillan's oeuvre."
Úna-Frances ClarkeD
"The titles of the three movements — Dance; Song; Song and Dance — give no warning of the violent rhythms within, nor the bludgeoning force of the eruptions; nor the demonic fury of the solo writing, whirling out dozens of notes a second; nor the enigmas enshrined in the piece. Why, in a stroke of nightmarish menace, does the orchestra start chanting the words of a German children’s song? What does that parodied waltz signify?"
The questions are unanswered and the tensions unresolved until the final scream of pain — a brutal collision of A minor and A major. But there were no unresolved doubts about the quality of this first performance. Vadim Repin gave an astonishing account of the solo part, which is like an unceasing torrent crashing over rocks; and Valery Gergiev steered the London Symphony Orchestra brilliantly. I just hope that other violinists and orchestras have the guts and ability to take it on."
Richard Morrison
"The Concerto is written in memory of MacMillan's late mother, and at its centre is a reminiscence of childhood in which Repin picks out the shapes of Celtic folk songs that eventually coalesce into a heart-on-sleeve melody of striking elegance. Elsewhere, however, the music is so eruptively profligate with ideas, that it occasionally loses focus. The opening movement examines the violin's role in dance bands as Repin plays furious Scottish reels in succession. The darker finale juxtaposes swirling violin figurations with both plainchant and a German nursery rhyme declaimed by the orchestral players. Staggeringly difficult, it was a tour de force for Repin, and thrillingly done by Gergiev and the LSO."
Tim Ashley
Mar 6, 2010
6-03-2010
MSO's 'Pastoral' exudes Beethoven's happiness
Posted: March 6, 2010
Along with the stormy moods for which Beethoven was infamous during his lifetime, he also felt great happiness and serenity while spending time in the countryside.
He expressed some of those feelings in his Symphony No. 6, "Pastoral," one of his few forays into program music, or music that depicts a nonmusical narrative.
The Milwaukee Symphony Orchestra and music director Edo de Waart delivered a musical equivalent of a breath of fresh air with the piece on Friday evening, capturing and sharing Beethoven's sunny frame of mind.
Although Beethoven thought that listeners should be able to conjure their own bucolic images in the music, he wrote titles for the piece's five movements to guide listeners, including: "Awakening of cheerful feelings on arriving in the country," and "Thunderstorm; Tempest."
De Waart and the players captured the moods of those titles, playing with constant attention to the lyrical melodies that flow through the piece and capturing the musical drama of sections like the fourth-movement storm.
Bringing beautifully focused sounds to the piece's softest dynamics, they moved to the piece's forte moments with what felt like reckless abandon, but was in reality still controlled, precise playing.
Guest violinist Vadim Repin performed Beethoven's "Concerto in D Major" with de Waart and the orchestra on the program's second half.
Repin gave a thrilling performance, playing with a silvery, ringing sound that was always present and focused, but never strident. His interpretation of the concerto was built of commanding musical statements, an enormous dynamic range, spectacular pyrotechnics and flawless musical nuance.
He played with heart-on-the-sleeve passion, stepping from a fiery first-movement cadenza, to pick one moment as an example, to a heartbreakingly earnest rendition of the simple lines that follow it.
De Waart and the orchestra supported Repin's colorful take on the piece with playing that ranged from a delicate, introverted delivery of parts of the piece's second movement to an exuberant, energized third movement.
The audience responded with a long, loud standing ovation. Elaine Schmidt
Posted: March 6, 2010
Along with the stormy moods for which Beethoven was infamous during his lifetime, he also felt great happiness and serenity while spending time in the countryside.
He expressed some of those feelings in his Symphony No. 6, "Pastoral," one of his few forays into program music, or music that depicts a nonmusical narrative.
The Milwaukee Symphony Orchestra and music director Edo de Waart delivered a musical equivalent of a breath of fresh air with the piece on Friday evening, capturing and sharing Beethoven's sunny frame of mind.
Although Beethoven thought that listeners should be able to conjure their own bucolic images in the music, he wrote titles for the piece's five movements to guide listeners, including: "Awakening of cheerful feelings on arriving in the country," and "Thunderstorm; Tempest."
De Waart and the players captured the moods of those titles, playing with constant attention to the lyrical melodies that flow through the piece and capturing the musical drama of sections like the fourth-movement storm.
Bringing beautifully focused sounds to the piece's softest dynamics, they moved to the piece's forte moments with what felt like reckless abandon, but was in reality still controlled, precise playing.
Guest violinist Vadim Repin performed Beethoven's "Concerto in D Major" with de Waart and the orchestra on the program's second half.
Repin gave a thrilling performance, playing with a silvery, ringing sound that was always present and focused, but never strident. His interpretation of the concerto was built of commanding musical statements, an enormous dynamic range, spectacular pyrotechnics and flawless musical nuance.
He played with heart-on-the-sleeve passion, stepping from a fiery first-movement cadenza, to pick one moment as an example, to a heartbreakingly earnest rendition of the simple lines that follow it.
De Waart and the orchestra supported Repin's colorful take on the piece with playing that ranged from a delicate, introverted delivery of parts of the piece's second movement to an exuberant, energized third movement.
The audience responded with a long, loud standing ovation. Elaine Schmidt
Jan 22, 2010
22-01-2010
Royal Philharmonic Orchestra/Dutoit at Festival Hall
Three voices of Mother Russia: Stravinsky who in his Symphonies of Wind Instruments set out neither “to please an audience, nor to arouse its passions”; Rimsky-Korsakov who, in his Scheherazade, had every intention of doing both; and, as a centrepiece, Tchaikovsky’s Violin Concerto, which continues unfailingly both to please and to arouse every passion in the book.
Especially in a performance such as that by Vadim Repin. This solemn Siberian seduces by stealth. His command of this concerto is so secure, so structurally infallible, that he has no need of wit or whimsy, manner or sentiment, to reach the music’s or the listener’s heart. His sophisticated phrasing, tightly coiled passages of figuration and closely attentive ear to the playing of the Royal Philharmonic had a cumulative effect that drew the audience in ever more compellingly. Michael Whight’s clarinet duetted with Repin in the gentle elegance of the canzonetta, and in the finale every player joined the dance with both gusto and with meticulously prepared steps. Hilary Finch
Three voices of Mother Russia: Stravinsky who in his Symphonies of Wind Instruments set out neither “to please an audience, nor to arouse its passions”; Rimsky-Korsakov who, in his Scheherazade, had every intention of doing both; and, as a centrepiece, Tchaikovsky’s Violin Concerto, which continues unfailingly both to please and to arouse every passion in the book.
Especially in a performance such as that by Vadim Repin. This solemn Siberian seduces by stealth. His command of this concerto is so secure, so structurally infallible, that he has no need of wit or whimsy, manner or sentiment, to reach the music’s or the listener’s heart. His sophisticated phrasing, tightly coiled passages of figuration and closely attentive ear to the playing of the Royal Philharmonic had a cumulative effect that drew the audience in ever more compellingly. Michael Whight’s clarinet duetted with Repin in the gentle elegance of the canzonetta, and in the finale every player joined the dance with both gusto and with meticulously prepared steps. Hilary Finch
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