Critique of the concert of Nathalie Stutzmann

How can it be so beautifull?

18-I-2013. Auditorium Kursaal. Pamplona. Program: «Prima Donna» (works by Antonio Vivaldi) and «An imaginary cantata» (works by Juan Sebastian Bach). Orchestra: Orfeo 55. Singer: Nathalie Stutzmann, contralto.

Music, that expression of culture that curdled in the irrationality of the passions through the rationality of the noblest of human feelings, in most of the time makes one internalize its own neuronal construction taking you to think that there is in it something mysterious, something that transcends the capacity of the intellect, and then when you picked up in a way that you cannot escape while you enjoy or suffer with its hearing, even afterward. So then, all this desideratum of almost philosophical scope occurred yesterday in the Kursaal Auditorium – at least inside of who writes – while onstage flowed the Baroque music through staves of Vivaldi and Bach, on which you always self-ask: How can something be so beautiful?.

Accredited set of camera ‘Orfeo 55’, in the first part exhibited us, in an admirable balanced sound, freshness and luminous explosion of the Venetian Lagoon, through four generic pieces of Antonio Vivaldi, where daydreaming of passionate sunsets and timbre infatuations and sweet colours was always present in the compact sound of musicians seasoned with the vocal chewiness of the contralto Stutzmann, who, not to mention sing, made the orchestral conclusion. Turned out eye-catching the ‘ Concerto for two violins in a minor Op 3/8 RV 522’ mainly ‘larguetto e spirituoso’. Stutzmann’s voice in the aria ‘ Lascia almen’ the work ‘La Constanza Trionfante, RV 706’, which opened its direct participation, was too doughy and with dark diction, improving ostensibly in the aria ‘ Sento in sinus ‘ piece ‘Il Giustino RV 717’ where the singer allowed to see all her interpretative powers, both regulation of the fiato and agility of tessitura carrying the voice by land of greater brightness, closing this first part with the delicacy of expressiveness that she put in the aria ‘ Gemo in a point ‘ of the ‘L ‘ olimpiade’ work.

After the break we embarked on another Baroque musical joy, but this time without that much of flourish luminescent, more powerful, and more typical of fields in multitude of greens, wild rocky mountains, brief Lakes and a compositional expressiveness of the discipline of a land that it saw the birth of one of the greatest geniuses of mankind: Juan Sebastián Bach. The form of a cantata bachiana was present in this part of the program in an overwhelming way, both in the brevity of their symphonic visions and in the arias. Everything regarding what made us enjoy is worth mentioning the aria «Erbarme dich’ of the always spectacular ‘Passion according to Saint Matthew BWV 244’. It became impossible to evade so much beauty.

EMECE