Yoav Levanon (11)/ Daniel Oren Chopin Concerto No.1 скачать в хорошем качестве

Yoav Levanon (11)/ Daniel Oren Chopin Concerto No.1

Young Yoav Levanon aroused great enthusiasm at the San Carlo theatre, being one of the promising upcoming stars of classical music. Oren shone within the orchestra, and so did Hernan Garreffa, the new lyric’s first oboe. By Paola De Simone 06.12.2015 (Performed on December 3rd and 4th, 2015) Yoav’s style of piano is bewildering: it’s filled with both a rare sensitivity and a rigorous technique, and it grasps each note even in the most virtuous passages. He’s aware of phrases, rhythm, shapes, and dynamics, thanks to his noble and clear touch. He takes a distance stand from the most recent interpretations, piano tight-rope walkers, and media-sponsored sideshows. His style can be compared to that of the legendary Arthur Rubinstein. All this sounds like a miracle if you consider that it came from an 11 year-old talent child, the first young performer in the history of the San Carlo theatre supported by the Orchestra della Fondazione to appear on the poster for the Stagione Sinfonica. The extraordinary Daniel Oren (top photo) guided him in an unexpected way for Mozart: a key-store of the Romantic music literature that requires a conscious hand as well as a conscious mind: the Concerto n° 1 in minor mi for piano and orchestra by Fryderyk Chopin, executed entirely by heart. What were the reactions, including the encore (Franz Liszt, Parafrasi da concerto sul Rigoletto di Verdi)? Israeli Yoav Levanon (side photo) represents in our opinion a lesson as well as the future of “educated” music in a time that witnesses the fall of sensitivity and faith in the many different expressions of Art and culture in general. Economic and culture ministers, directors, conservators, administrators, artistic directors, orchestra supporters, solo men, experienced and beginner performers: they should all listen to him. Yoav is a gem and a gift not only because his music is enchanting and moving, but also because of his crystal-clear technique and the sweetness of every performance. The simplicity and pureness of his age remain intact, however he has the most impressive sense of discipline and a strong personality, which you can tell by looking at his confident ideas and movements; he is able to control tension on the stage, and we witness that in small gestures such as adjusting the bowtie, leaning on the stool before start playing, the hesitation of his hands a moment before attacking, the slight tremble of the first notes, and the many, the liberating bows to the audience at the end of the performance. When he enters the stage between the rows of violin players, followed by Oren, you can hardly spot him. Then he shows up next to the piano, which looks immense next to him, and he bows, melting hearts with his blonde bowl cut that follows his movements even during the most complex passages. Oren’s metric of the initial Allegro Maestoso gave a hint of the type of execution we were going to enjoy: not just a mere, mechanic execution of an enfant prodige, but also a thoughtful and mature performance from the stylistic and emotional side. He didn’t disappoint: the sound was perfect for Chopin, with a vivid contrast between the themes (risoluto for the first, cantabile for the second), clarity, rhythm and mastering of the storm of notes in the irregular groups notes in ottava, volatine, scales, time signature, expanded arpeggio, simple and double trills, and a whole lot of change of movements from passionate to polished in leggierissimo, stretto, and agitato. It wasn’t easy, but Oren majestically directed the delicate relationship between the orchestra, of which we must mention the beautiful dialogue with the first bassoon Mauro Russo in the central Larghetto and the brilliant final Rondò with an impeccable scherzando built on arches between staccato, legato, and the accent on the second metric unit. The encore of Liszt’s piece is just as impressive, thanks to the young performer’s ability that faced any form of technical challenge; particularly remarkable is the precise turning of the chant from the quartet “Bella figlia dell’amore” from Verdi’s Rigoletto. This means that Yoav, besides being a player, is a good listener as well: he was probably influenced by his mentor Oren, who didn’t miss a single note from the balustrade on which he perched after his stellar performance.