BEETHOVEN

Asher Fisch conductor

Israeli orchestra director, born in 1959, collaborates regularly with the major European and American theaters and with prestigious symphonic ensembles.

Exalted by critics as one of the most refined Wagnerian interpreters of our times, Asher Fisch has brought his wide operatic repertoire to the greatest theaters in the world, also holding the role of Music Director at the Israeli Opera in Tel Aviv and at the Volksoper in Vienna. His concert activity is also intense, even as a pianist. Among the direct orchestras we remember: The Chicago Symphony, the Dallas Symphony Orchestra, the London Symphony Orchestra, the Berliner Philharmonischer, the Israel Philharmonic, the NHK of Tokyo and others.

Sunday 6 December 2020 | H 17.30

Online event - Canale Youtube del TCBO

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Program

LUDWIG VAN BEETHOVEN

Symphony n. 2 in D major op. 36

LUDWIG VAN BEETHOVEN

Symphony n. 3 in E flat major op. 55 “Heroic”

LUDWIG VAN BEETHOVEN

Symphony n. 4 in B flat major op. 60

Composer

Ludwig Van Beethoven

Symphony n. 2 in D major op. 36

Year of composition: 1800/1802

First performance: Vienna, Theater an der Wien, 5 April 1803

Movements:
1. Adagio; Allegro con brio
2. Larghetto
3. Scherzo: Allegro
4. Allegro molto

The Second Symphony opens with a slow Introduction that surprises with its profound and skilful harmonic processing, a springboard for an Allegro con brio that whizzes fast. Larghetto shows how Beethoven’s creative muse escapes far from the musician’s predecessors, now far from both Haydn and Mozart. It is a long farewell to the composed grace of the eighteenth-century style, while the Scherzo imposes the elastic meter full of contrasts, which will characterize the future Scherzi of the musician. The Finale falls on him with an even dangerous vivacity.

 

 

Symphony n. 3 in E flat major op. 55 “Heroic”

Year of composition: 1802/1804

First performance: Vienna, Theater an der Wien, 7 April 1805

Movements:
1. Allegro con brio
2. Funeral march: Adagio molto
3. Scherzo: Allegro lively
4. Final: Allegro molto; Poco Andante; Soon

The four movements of the “Heroic Symphony, composed to celebrate the help of a great man” (a title that was finally affixed to the Opera, leaving out the original one which included the name of Napoleon) mark an immediately tangible rhythm in its astounding representative effectiveness. For this reason, the slow movement is subjected to a game worthy of a great master of illusions: it is slow and solemn, transformed into a Funeral March, one of the models of the musical repertoire of the time. And the Scherzo could suggest that the hero in question is not the author of this music himself, that the musician is ready to distance himself. The last movement unleashes a series of variations at breakneck speed, with a final theme that stems from a motif taken from the ballet The creatures of Prometheus, presented by Beethoven in Vienna a short time before.

 

 

Symphony n. 4 in B flat major op. 60

Year of composition: 1806

First performance: Vienna, March 1807

Movements:

Slowly; Allegro vivace
Slowly
Allegro Vivace – Trio, a little less Allegro
Allegro, but not too much

Written in a particularly happy period for Beethoven, the Fourth Symphony represents a happy oasis between the frowning titans of the Third and Fifth. At the beginning of the Symphony, Beethoven seems to mock the listener by surprising him with a humorous effect, while the second half takes place on a cantabile and relaxed theme. The third movement is a quick tempo Scherzo, interrupted twice by the Trio. The main theme of the Scherzo is divided into a first part, with an irresistible rhythmic impulse, which contrasts with a second sinuous phrase in which strings and winds interact with each other. The fourth movement is pure sonic fun, a real explosion of that joyful and dramatic character enunciated throughout the composition.

ORCHESTRA OF THE TEATRO COMUNALE DI BOLOGNA

With its long-standing tradition, the Orchestra of the Teatro Comunale di Bologna has been led by Musical Directors like Sergiu Celibidache, Zoltán Peskó, Vladimir Delman, Riccardo Chailly, Daniele Gatti, Michele Mariotti. Some of the conductors who have worked with the ensemble include Gary Bertini, Myung-Whun Chung, James Conlon, Pinchas Steinberg, Valery Gergiev, Eliau Inbal, Vladimir Jurowskij, Daniel Oren, Peter Maag, Neville Marriner, Kurt Masur, Riccardo Muti, Mstislav Rostropovič, Esa Pekka Salonen, Georg Solti, Christian Thielemann, Charles Dutoit, Georges Prêtre. The Orchestra of the Teatro Comunale is often invited abroad (The Netherlands, Romania, Spain, France, and Switzerland) and has played in many prestigious festivals (Amsterdam 1987, Parma 1990, Wiesbaden 1994, Santander 2004 and 2008, Aix en Provence 2005, Savonlinna 2006, Macao 2013, Muscat 2015, Guanajuato in Mexico 2017, Paris 2018). A special connection  with Japan has brought to several tours, including the tour in June 2019 in Osaka, Tokyo, Yokohama, Fukuoka, with performances of Rigoletto directed by Alessio Pizzech, and of Il Barbiere di Siviglia directed by Federico Grazzini. 

Its numerous recordings include La Favorite conducted by Richard Bonynge; Oberto Conte di San Bonifacio conduted by Zoltán Peskó, Il Barbiere di Siviglia conducted by Giuseppe Patané, La Fille du Régiment conducted by Bruno Campanella, Le Maschere and La Bohème conducted by Gianluigi Gelmetti, La Scala di Seta conducted by Gabriele Ferro, Macbeth, Manon Lescaut, Rigoletto, La Cenerentola, Messa Solenne, and the video production of Vespri siciliani and Giovanna d’Arco and Werther conducted by Riccardo Chailly, Armide conducted by  Daniele Gatti, Simon Boccanegra conducted by Michele Mariotti.

The Orchestra, conducted by Michele Mariotti, has recorded a CD under the label Decca with sacred arias sung by Juan Diego Flórez, and an album under Sony with Romantic arias sung by Nino Machaidze. Under Deutsche Grammophon the Orchestra recorded Le Comte Ory with Flórez, and La Nuit de Mai – a selection or arias and songs by Leoncavallo – with Placido Domingo. Under the label PENTATONE it recently released a CD containing overtures by Rossini, to celebrate 150 years since the death of the composer.  

In March 2013 the artistic ensembles of the Teatro Comunale di Bologna, led by Michele Mariotti, opened the IV International Festival Mstislav Rostropovich in Moscow, where they performed Verdi’s Messa da Requiem. In October 2015, again with Michele Mariotti on the podium, they opened the Lingotto Music Festival at the Auditorium Giovanni Agnelli in Turin, where they performed Stabat Mater by Rossini, and his Overture and Ballet Music from Guillaume Tell. 

After working with the Rossini Opera Festival for nearly thirty years (from 1988 to 2016), the year 2017 brought new collaborations between the Teatro Comunale di Bologna and the Verdi Festival in Parma, where the Orchestra performed, among other productions, the Stiffelio directed by Graham Vick. Staged at the Teatro Farnese, the show was highly appreciated by audience and critics alike and was granted the Special Prize at the 37th edition of the “Franco Abbiati” Critics award. The Orchestra’s engagements with the Verdi Festival for the Fall of 2019 include Luisa Miller at the Chiesa di San Francesco del Prato in Parma, and Aida at the Teatro Verdi in Busseto. 

The Teatro Comunale’s 2018 production of La Bohème staged by Graham Vick received the Abbiati Award as best show.