A solid and cinematic reading of Alexander Nevsky. The first part was entirely dedicated to the cantata Alexander Nevsky by Sergei Prokofiev, a work of epic dimensions and complex choral and orchestral architecture. Venezi showed maturity in the direction: phrasing acquired a broad breath, the balance between the different planes was carefully considered and the sound narrative progressed without abruptness, balancing the effect that the score might invite. The number V, The Battle on the Ice, extended and with its most intense rhythmic character, showed remarkable integration and group work, highlighting what was achieved with the woodwinds in the counterpoint challenges in speed set by Prokofiev. In the Verist block, and again with Venezi at the helm, the Intermezzo of Cavalleria rusticana and the famous \u00abRegina coeli\u2026 Inneggiamo\u00bb allowed the strings to shine in the orchestral phrases that were enveloping and lyrical. Alongside the choir, like Santuzza, Guadalupe Barrientos also brought her touch of anguish and devotion to add to the dramatic moment of the Easter choir. The \u00abKermesse\u00bb Choir of Fausto contributed a moment of color and dynamism before the evening culminated with a traditional and awaited reading of the triumphant March of Aida. Here, the Col\u00f3n sounded like the Col\u00f3n: resounding sound, brightness and a choral intensity that recalled the best times of the theater. The work not on the program was the indispensable \u00abVa, pensiero\u00bb from Act III of Nabucco: a sober version, of fine musical craftsmanship.<\/p>\n\n\n\n
<\/p>","protected":false},"excerpt":{"rendered":"
(09.12.2025) MusicaClasica – Recensione di Pablo A. Lucioni Una lectura s\u00f3lida y cinematogr\u00e1fica de Alexander Nevsky. La primera parte estuvo \u00edntegramente dedicada a la cantata Alexander Nevsky, de Sergu\u00e9i Prok\u00f3fiev, obra de dimensiones \u00e9picas y de compleja arquitectura coral y orquestal. La direcci\u00f3n de Venezi mostr\u00f3 madurez: el fraseo adquiri\u00f3 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