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the ritirata

Flute: Tamar Lalo. Clue: Tamar Lalo. Cello and address: Josetxu Obregon. Program: Works by A. Scarlatti, F. Durante, N. Porpora, R. Valentini. N.Fiorensa. F. Mancini. Programming: Baluarte baroque cycle. Place: Chamber room. Date: May 18, 2022. Public: Three quarters (18 e. 6 with youth card).

Lhe ensembles of music that we call ancient provide us, at this stage, with the immense pleasure of technical perfection. From the Spanish desert of these groups, a few years ago, when we admired the English, first, then the Germans, French and Italians; we have moved on to Spanish ensembles that are not only at the same professional level, but also give their versions a plus of daring that goes beyond the hackneyed; fruit of own investigations, and with the result of a very original colorful sound. The Ritirata is one of these groups. The program offered in the Baluarte baroque cycle is very well conceived around the Neapolitan concert. Some composers (all between 1660 and 1764) who have in common an extraordinary luminosity in their works, structured in the calm preparations, the sparkles of the allegros, the serenity of the long adagios, and the flowery outburst of virtuosity in the endings. The five scheduled concerts and symphony also had the wisdom to exhibit three fundamental solo instruments: the cello, the harpsichord and the recorder, with which the session gains in timbre variety and fluidity.

Tamar Lalo, flute, (Scarlatti, Valentini and Mancini), dominates the instrument by feeding a continuous current of air that gives the sound volume, homogeneity and beauty, which never decay, which is wonderfully measured with the two violins, with which she often he concerts, and contrasts with the rest, who plays basso continuo. The truth is that the ensemble works very well as accompaniment, dialogue, preparation and conclusion of all the soloists; with very well brought details, like the inclusion of the baroque guitar in some works, which brings some percussion and a lot of joy. I also loved the criteria of the low string –cello and double bass– very loose and choppy, so as not to blur. In concert 2 of Valentini, Tamar shows off virtuosity, but of that kind that seems easy, without fanfare, enjoying herself. In Mancini, the preparation with the opening impulse is precious, as the engine of the compass.

Daniel Oyarzábal, whom we have been following for a long time, runs with the not-so-easy harpsichord concerto by Durante. The peculiar sonority of the pinch of the harpsichord, in this work, must be perpetual; throughout the score the multiplication of the hands on the keyboard flies over. The allegros express, like nothing, that anxiety, for good, that, sometimes, the baroque produces in us; that overwhelming and golden ornament.

Josetxu Obregón, in addition to solo cello, is the director. Double merit, that of magnificent instrumentalist, and that of having managed to make his group breathe, accentuate and express itself, with camera criteria, respecting individuality. Porpora and Fiorenza were chosen for his cello. He uses a period instrument, with a little less volume, but with a beautiful sound. But it was his interpretive criteria that fascinated: the material is expressed with bow strokes that let the sound come out very natural; as always the sonority is sweet, deep hollow, it does not tend to sweeten it; on the contrary, it gives it special power and claw, and the result transmits a special energy. In the “long” sections, he calms down, and doesn’t shy away from a very discreet vibrato – only at the end – which is appreciated; how grateful you are to have such a personal vision, so convinced, with fast tempi, at some point, that exalt extroverted music even more.

It is fair to mention the two violinists, the theorbo-guitar, and the double bass player, whose names were not provided. He really liked the concert: after several outings, a Sicilian by Leonardo Leo – with sharp piccolo by Tamar –, as a tip, closed the evening. he

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order and concerts


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