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By ANDREW POWELL MUNICH \u2014 He will always be attached to Rossini, but Michele Mariotti<\/a>, 36, can probe and illuminate a vast repertory besides. This much was evident March 23 in a refreshing return engagement with the M\u00fcnchner Symphoniker<\/a>.<\/p>\n The Pesaro-born maestro\u2019s podium technique and constructive manner recall another Rossinian, the late<\/a> Claudio Abbado, both men omnipresent in Bologna over the last decade. His knack for lifting out seemingly banal musical lines and turning them to instant expressive effect, combined with a certain metrical rigidity, suits him to the opera composer. But like Abbado he savors structure and injects passion somewhat clinically: the ethos is Classical rather than bel canto<\/em>, Haydn over Bellini, and therefore impossible to delimit.<\/p>\n The Prinz-Regenten-Theater<\/a> subscription concert followed a same-program runout to Kempten<\/a> in Bavaria\u2019s cheese-making Allg\u00e4u<\/a> region. Ray Chen<\/a> provided buoyant pleasures in Mozart\u2019s G-Major Violin Concerto (1775) using a loaned Stradivarius associated with Joachim. If the outer movements sounded generalized, the Brisbane soloist\u2019s ardor in the Adagio compensated.<\/p>\n In the opening Meeresstille und gl\u00fcckliche Fahrt<\/em> Overture (1828), Mariotti gave character and point to even the briefest of Mendelssohn\u2019s phrases, audibly pushing the technical limits of all sections of the cooperative orchestra. After the break, Rossini\u2019s Guillaume Tell<\/em> Overture (1829) was a study in contrasts, properly stormy, emotional, and detailed in its texture. To conclude: a Schubert Third Symphony (1815) of Beecham-esque charm and Adriatic sunshine, ideally paced and neatly played.<\/p>\n The orchestra\u2019s strings registered greater cohesion than in December<\/a>; perhaps Kevin John Edusei<\/a> has less work to do than previously imagined. Flute and oboe passagework tended to be strident, however, with the winds up against a safety curtain at this venue.<\/p>\n The M\u00fcnchner Symphoniker took its name in 1990. It earns 24% of its annual budget of \u20ac4.5 million. The Free State of Bavaria contributes 55% in return for certain services; sponsors, including a savings bank and the region of Upper Bavaria, with Munich, underwrite the rest. By budget the ensemble ranks fifth in this city.<\/p>\n Photo \u00a9 Rocco Casaluci<\/p>\n Related posts:
Published: April 26, 2015<\/span><\/p>\n
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