Studium. New season
The concert began with a prologue that was sufficiently luxurious and, in some way, indicated the level of the evening.
PalmStudium Aureum inaugurates a new season with a revised and expanded lineup, with nearly seventy members on stage, including singers, musicians, soloists, and, of course, the conductor. Carlos Ponseti, the silent musician. The chosen piece also has enough elements of special interest, although, being a Mozart piece, it doesn't usually appear in the programs. Penitent Davide K 469 It is a cantata that was commissioned by the Tonkünstler-Societät (Musicians' Society) of Vienna, on the occasion of Lent. The year was 1785, a rather busy year for the genius, during which he signed up to sixteen works, among which we find three piano concertos, a sonata for piano and violin, a quartet for piano and strings... and we already know that religious music was not among his preferences. A good reason to undertake the Kyrie and the Glory to its unfinished, who knows why, Great Mass in C minor K.427. Perhaps that's why there are so few performances. The golden selection, therefore, and as on so many occasions, has added value.
But the concert began with a rather lavish prologue that, in a way, indicated the level of the evening. Soprano Cecília Rodríguez was the soloist, accompanied by the vigorous orchestra, in charge of interpreting a brilliant Rejoice, jubilate K 165, that the Salzburger composed for the enjoyment of his favorite castrato, Venazio Rauzzini, while both were preparing the opera Lucio Silla. The motet is like a small concerto, with two arias, a central recitative and one Alleluia A fascinating and captivating ending that clearly showed the protagonist's abilities. A colorful, velvety voice, impressive in its resolutions.
Then came Penitent Davide, a ten-movement cantata, now with the reinforced heart as co-star, accompanying the sopranos Cecília Rodríguez and Violeta Alarcón, and the tenor Antonio Aragón, in charge of interpreting the aria A té, tra tanti affanni, while the other, a new creation, performed by the first soprano, Behind the dark, fatal shadow, They give the composition a particular operatic air, as does the trio of soloists Tutti le mie speranze, and a powerful ending, somewhat intertwined, but no less impressive, with the cadenza Also performed by the three soloists, the choir and the orchestra, it marked a concert of class, intensity and great magnitude.
