Myeong Hur, Columnist: April 18th 2021, reviews of the SAC Orchestra Festival Concert 2021
교향악축제 <경기필, 마시모 자네티 지휘>
레스피기 로마 3부작은 마시모 자네티에게 특별한 레퍼토리였나 보다. 2019년에는 ‘로마의 축제‘ 를 골랐고, 올해는 ‘로마의 소나무‘ 를 선택했다. 마에스트로가 이 작품에서만큼은 자신의 모든 것을 보여주겠다고 종종 이야기해 오기도 했다.
‘로마의 소나무‘ 첫 곡부터 작품이 가진 다양한 색채가 공연장을 채웠다. 타악기 섹션은 오케스트라 끝에서 색깔을 더했다. 또 3번째 소나무는 달빛아래 야상곡이었는데, 마시모는 조용하지만 이 안에 흐르는 거대한 에너지의 흐름을 보여주기 위해 스트링 섹션의 호흡을 정교하게 가다듬었다. 그러더니 이내 명상적인 분위기와 함께 나이팅게일이 지저귀기 시작했다.
그리고 새벽이 찾아오고, 새소리도 잦아들며 마지막 아피아 가도의 소나무가 시작되었다. 쿵쿵쿵쿵 멀리서 고대 로마전사들의 발걸음이 들렸고, 마시모는 이들이 더욱 당당할 수 있게 금관의 프레이즈를 더욱 끊어서 근엄하게 노래했다. 스트링섹션에 바짝 힘을 주어 거대한 금관 속에서 스트링 섹션의 색채를 더하기도했다. 사실 오늘 공연내내 정하나 악장님은 경기필에 얼마나 필요한 존재인지를 알게 해주기도 했다.
앙코르는 카발레리아 루스티카나 간주곡이었다. 작품엔 시칠리아에 평온한 새 봄이 오길 바라는 마음이 담겨있다. 우리에게도 전하는 메시지가 분명하지만 마시모에겐 남달랐을 것 같다. 코로나 초기 가장 큰 어려움을 겪었던 나라는 이탈리아였다. 마시모 자네티는 작품을 연주하면서 머릿속으로는 사랑하는 자신의 나라가 다시 일상을 찾기를 바라는 마음이 아니었을까. ‘로마의 소나무‘가 간직한 이탈리아의 모습처럼.
더불어 마시모는 관객들의 이야기가 궁금하다고 했다. 오늘 연주된 레스피기가 어땠는지. 그들에게 감동을 줬는지. 만약에 그들이 여전히 사랑해준다면 내년 교향악축제 무대는 ‘로마의 분수‘ 를 꺼내겠다고.
Symphony Festival <Gyeonggi Phil, Conducted by Massimo Zanetti>
The Respighi Roma trilogy must have been a special repertoire for Massimo Zanetti. In 2019, he chose the “Roman Festival” and this year, responding to the high expectation, he chose the “Roman Pine”. Maestro has often said that he will try to show all the extreme dynamics possibilities and expression of the work and he succeeded.
From the first part of “Roman Pine,” various colors of the work filled the concert hall. The percussion section added colors at the end of the composition. The third Pine tree was a night song under the moonlight, which was quiet but elaborated on the string section’s breathing to show the huge flow of energy flowing through it. Then, with a meditative atmosphere, Nightingale began to sing.
Then dawn came, the birds died down, and the pine trees of the last Appia Road began. From a distance, ancient Roman warriors could hear their footsteps, and Massimo sang solemnly by cutting off the frame of the gold crown so that they could be more confident. The string section was tightly tightened, adding color to the string section in a huge gold tube.
The encore was Cavalleria Rusticana Intermezzo. The work contains a wish for a peaceful new spring in Sicily. The message to us is clear, but I think it would have been different for Massimo. The country that suffered the most in the early days of Corona was Italy. While playing his work, Massimo Zanetti might have hoped that his beloved country would find its daily life again. Like Italy, where Rome’s Pine Tree is preserved. In addition, Massimo said he was curious about the audience’s story. What did you think of today’s Respighi? I don’t know if it touched them. If they still love us, next year’s symphony festival will bring out the fountain of Rome.
**2021/04/17 SAC, Review by Ryu Tae Hyung
On April 17, the performance of the Gyeonggi Philharmonic Orchestra, conducted by Music Director Massimo Zanetti showed a really high level. Kim Da-sol’s concerto Prokofiev Piano Concerto No. 2 was a new experience shared by pianists, orchestras and audiences that became more sensitive as the performance progressed.
Among Respighi’s “Roman Pine,” “Pine of the Appian way” flows in the scene where whales fly into the sky and head into space during the animation movie “Fantasia.” The music swelled so huge that this scene came to mind again. The presence of Zanetti, who constantly encouraged the members and made it into today’s game pen, was highlighted. By Ryu Taehyung
Gyeonggi Newspaper = Reporter Shin Yeon-kyung ]
The stage of ‘Five for Five’, a series of performances of all Beethoven’s Piano Concertos held at the Gyeonggi Art Center, was exactly what Massimo Zanetti said. From the fantastic breathing of the members of the Gyeonggi Philharmonic Orchestra and the movement of Concertmaster Hanah Chung, to the performances of up-and-coming pianists Yoon Ah-in and Park Jae-hong, who embroidered the stage with freshness and passion, the audience cheered and applauded.
At 5 pm on the 1st, at the Grand Theater of the Gyeonggi Art Center, the performance of ‘Five for Five Ⅱ‘, a series of performances of all Beethoven’s piano concertos, was held by the Gyeonggi Philharmonic Orchestra in collaboration with up-and-coming pianists. Families, couples, lovers, and friends who came to watch with their young children were waiting with excitement on the first day of May, the month of the family.
The Third of Beethoven’s five piano concertos, it is the only one in minor. It is praised as a work that fully reveals Beethoven’s intense personality, and I could feel the wide range of emotions and grandeur at the fingertips of Yoon A-in, who was in harmony with Massimo Zanetti’s conducting and Gyeonggi-pil’s performances.
After the stage was over, the audience’s shouts and applause continued for Massimo Zanetti, Gyeonggi-pil, and Park Jae-hong. It was an atmosphere where the rapturous atmosphere, 100 minutes of communion through music, and passion did not fade easily.
Massimo Zanetti said he wanted to give the audience an opportunity to share again live music and to give emerging artists a chance to stand on stage together. This stage was the moment when his message, which created new energy while decorating the stage with millennials born around 2000, was realized.
Kim Joonhyung, Columnist, on Beethoven Symphony Nr 7
“ Massimo inspire new vitality and energy to the Korean Orchestra. It’s Massimo Magic! “
THE STRAD’s Editor Facebook post on SAC Festival Orchestra Concert of April 17th
“Should have been more people, but only half of 2,200 seats(COVID) were allowed.
The sound made in Ravel’s work – Ma mere l’oye – showed how hard the conductor worked. The same is true for Respighi. It was the best performance of the entire Symphony Festival.
I hope Massimo Zanetti can stay with GPO for a long time. Just as Simon Rattle and Berliner Philharmoniker did.”