
He scored the work for orchestral forces
very different from the ensembles used in the nineteenth century
(including, for example, a soprano saxophone, an accordion, a harmonica,
a wind machine, a guitar and a very large percussion section). Hans
Zender describes his work as a ‘creative transformation’: ‘My own
reading of Winterreise does not seek a new expressive
interpretation, but systematically takes advantage of the freedoms that
performers normally allow themselves in an intuitive way: slowing down
or accelerating the tempo, transposition into different keys,
emphasising and nuancing colours.’ Following a staged production of this
version of the work, Christian Merlin wrote in Le Figaro in 2018: ‘A
spellbinding Winterreise . . . The tenor Julian Prégardien, at
once an exceptional singer and a committed actor, gives an incendiary
performance combining vocal expressiveness, loving attention to the
words and theatrical presence with sensitivity and intelligence in equal
measure.’
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