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OSR, the orchestra leading the symphonies Italian Worldwide

CLT - Lyrical / OSR, which leads the orchestra and symphonies in the world Italian
Rome, 28 February (The Velino) - As nearly half of the 2010-2011 season, it's good to get back pay attention to the Orchestra Sinfonica di Roma (OSR), often neglected even by the press because of the weight of the Roman Symphony Orchestra dell'Accademia Nazionale di Santa Cecilia, whose budget is ten times higher. It is not neglected, however, by his fans (many young people), on Sunday afternoon and Monday evening, the crowd because of the large auditorium of Reconciliation, also because of the policy of low prices for subscriptions and for individual concerts. They also formed an association of friends OSR organizing seminars to accompany the musical culture and travel on tour. An example at the same time interesting and stimulating public participation in the activities of an orchestra who see them.

This year the season is devoted almost entirely to three "full" - Beethoven, Mendelssohn and Mahler - to coincide with important anniversaries. However, the OSR has not forgotten too often forgotten Italian symphonic music (after having recorded the complete of Martucci, sta ora arrivando nei negozi di dischi quella di Casella). La riscoperta del sinfonismo italiano è infatti uno degli elementi che l’hanno resa celebre nel mondo: in Germania, Austria, Polonia, Gran Bretagna, Belgio, Spagna, Russia, Nord America, America Latina e Cina. Francesco La Vecchia, che ha creato e dirige l’Orchestra, quest’anno dirige l’integrale di Mahler oltre che a Roma, anche a Budapest e a Seul. Un vero e proprio tour de force che pochi direttori d’orchestra affrontano in un arco di tempo così breve. Il concerto in programma il 6 e 7 marzo a Roma è interamente dedicato alla nona sinfonia, una struggente riflessione sulla morte del maestro boemo, considerato a ragione il ponte tra l’Ottocento and the twentieth century.

The last two concerts this month (20 to 21 February and 27-28 February) were instead a trip in the nineteenth century. The first was directed by a young Chinese conductor, Yang Yang, and was known as a solo violinist of Ukraine, Vadim Brodsky, who until the late eighties has been forbidden to play outside the Soviet bloc. The second was directed by La Vecchia, a young soloist, and beautiful, the Korean violinist Fabiola Kim, already very popular both in Asia and the United States. A trend in line with the objectives of OSR, it seeks to explore new artists, often little known in Italy and taking advantage when their career is not più solamente una promessa ma si sta lanciando a livello internazionale.

Nel primo concerto, l’Ottocento è stato colto nelle sue sfumature più nettamente romantiche con il Concerto n. 4 in Re minore per violino ed orchestra e con la Settima sinfonia di Beethoven. Nel secondo si è invece partiti con due notissime composizioni di Mendelssohn (la breve ouverture Die Hebriden e il Concerto per il violino e orchestra in Mi minore) per approdare al grande sinfonismo italiano a cavallo tra la fine del secolo e l’inizio del Novecento (La Serenata, La Govotta e la Giga di Martucci) e chiudere con l’unica breve Symphonie di Wagner, il Siegfried Idyll. Un viaggio appassionante accolto con grande apprezzamento del pubblico, che has had its high points (and to greater effect) in the virtuoso Vadim Brodsy and Fabiola Kim. By popular demand, both have a granted.
(Hans Sachs) February 28, 2011 13:13
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