Interpreti Veneziani brings Baroque tradition to Beaver Creek
- What: Interpreti Veneziani
- When: 6:30 p.m. Jan. 23
- Where: Vilar Performing Arts Center, Beaver Creek
- Tickets: Starting at $38, students, $10
- More info: VilarPAC.org
Italy’s finest chamber orchestra has only booked two performances in the United States, and Beaver Creek is one of them.
Interpreti Veneziani hails from Venice, the same home as one of the most important composers of the Baroque tradition, Antonio Vivaldi (1678-1741).
As soon as Interpreti Veneziani debuted in 1987, the orchestra earned a reputation for its exuberant performances. Since then, they have been performing weekly in a stunning cathedral in the heart of Venice, masterfully presenting the brilliance and virtuosity of Vivaldi, Paganini, Bach and more. They’ve also performed in the most prestigious halls worldwide, from the Melbourne Festival and Prague Music Festival to Japan and St. Petersburg, as well as Stockholm’s Royal Palace.
“We welcome a baroque orchestra that is actually from Venice,” said Owen Hutchinson, the Vilar’s executive director. “During this special appearance, Interpreti Veneziani, Venice’s finest chamber orchestra, will be performing glorious masterworks of the Baroque tradition.”
Its debut performance at the Vilar begins with Vivaldi Concerto for violin, strings and harpsichord RV. 246, which opens with a restless, racing passagework for the soloist, supported with driving energy from the orchestra. The second movement showcases the violin, harpsichord and bass. The music suggests a steady flow of tears, punctuated by falling, sigh-like effects, until it closes with rapid motion, according to Betsy Schwarm, author of the Classical Music Insights series.
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Johann Sebastian Bach’s Concerto for 2 violins, strings and harpsichord BWV 1043 is known as the Bach Double in the world of classical music, with two solo violins, one orchestra with harpsichord, three movements and immeasurable mastery. When composing the piece, Bach imagined two violin soloists of comparable abilities, capable of making their instrument, sing, dance or scurry, based on the composition. The opening movement emphasizes a sort of determined energy, in which both soloists are engaged with distinctly different material, whereas the second movement ushers in a sweet, song-like mood. The final movement adds torrents of racing energy, as the two soloists often play parallel to one another, offset in time so that they seem to be chasing one another, Schwarm noted.
Vivaldi Concerto for violin, strings and harpsichord RV. 212a, a virtuoso showpiece, pays tribute to Catholic’s St. Anthony of Padua, and therefore, is cheerful and bright-spirited, and at times, tender and wistful.
Vivaldi Concerto for violin, strings and harpsichord RV. 386 is a dramatic piece that grants glimpses of hope and gives the orchestra, as well as the soloist, an opportunity to demonstrate their virtuoso skills.
Vivaldi Concerto for four violins, cello, strings and harpsichord RV580 “Estro Armonico” brings in the unexpected; it is thought the Vivaldi wrote it for his violin students in Venice.
The evening ends with Niccolò Paganini’s “XXIV Capriccio” for violin and strings op. 1, likely the most famous violin solo ever composed by the most famous violinist of the 19th century. Paganini didn’t publish it until later in his career, for fear that other performers unlock the key to his mastery. Interpreti Veneziani approach to this piece makes it come to life in their own way.
For classic music lovers, or simply those who want to see some of the best musicians, Interpreti Veneziani is a special treat.