PS Un “blogger” non è un oracolo e commette inevitabilmente errori (il minimo possibile..). Ricevo spesso “correzioni” non sempre fondamentali e non sempre precise. Così come io mi sottopongo al giudizio altrui con nome e cognome così chi vorrà avere la bontà di segnalarmi eventuali errori o imprecisioni dovrà farlo unicamente mandando un commento: a ognuno la propria responsabilità. In base alla nuova normativa chi si fosse iscritto e desidera de-iscriversi è sufficiente che mi invii un messaggio e-mail..

———————————————————————————————————————————————————————–The young twent years old cellist Pagano, preceded by a respectable CV,  performed Shostakovich’s famous concerto characterized by the obsessive repetition of four notes, present in the first and also in the last movement. a sort of trademark of the Russian composer. Of Pagano it can certainly be said that he is gifted with a beautiful technique but that he has a sound that is not completely exceptional (especially if compared to that of Dindo heard the night before). It is certain that in a hall like the Manzoni (and in a concert with orchestra) many of the specific performance characteristics of the cellist can be partly obscured, but it is also true that we have heard in the same hall performances with orchestra of decidedly higher quality.  The young instrumentalist deserves to be listened to in a smaller hall and in a solo concert in order to be able to make a more thoughtful judgment, but it is also true that in the instrument’s repertoire there are also some (not too many) concerts with orchestra and the judgment concerns the specific performance. Obviously the young age has its impact, especially for an instrument so “anthropomorphic” in every sense (unlike the piano and violin) that requires an expressive maturity that is achieved over the years (see in this regard the result of the Queen Elizabeth in Brussels competition in 2022) and therefore it can be hoped that instead of “wasting” himself in a sequence of concerts too close together, he has time for the needed maturation. Two “juvenile” encores support my opinion.  As for the conductor Inkinen – which can only be evaluated for Prokofiev’s symphony – it can be said that he is certainly not endowed with a particular expressive capacity, since he almost constantly uses the two arms synchronously (there are two arms and they must be used – except in a few cases – individually, as with  Abbado and Mehta just for a couple of examples) and the result was that of a performance dazzling but not very significant from a stylistic and expressive point of view. An obvious excellent result of the audience that always applauds uncritically when the orchestra (which in any case has given excellent proof of itself regardless of the conductor) plays “loud”.

PS I would kindly ask the readers of this blog to  register  (which implies nothing) which can be easily made  by “clicking” the black square above each post. By so doing they will receive an e-mail message whenever a new post is published.

PS A “blogger” is not an oracle and inevitably makes errors (the minimum possible..). I often receive “corrections” not always fundamental and not always accurate. Just as I submit myself to the judgement of others with the name and surname so those who want to have the goodness to report errors or inaccuracies will have to do so only by sending a comment: everyone has his own responsibility.

Per un elenco aggiornato di tutti i precedenti  posts di questo blog con i corrispondenti links

PS  Vorrei ringraziare tutti coloro che inseriscono commenti  ai posts utilizzando l’opzione “Lascia un commento”  (o “commenti” se ne sono già stati inseriti) prevista nella sezione sinistra (o prima del testo per schermi ridotti come i tablets) dei posts stessi affinchè tutti possano leggerli.  Il dibattito è sempre interessante per tutti…..grazie (è indispensabile lasciare nome e cognome – i commenti anonimi non saranno pubblicati)!!