The music of the Russian court at the Royal Mirage hotel
Elena von Haifen continues to familiarize the Dubai public with high art, for the eighth time inviting musicians from St. Petersburg to the Emirates.
| On June 9, a concert by the Musica Petropolitana ensemble was held at the Royal Mirage Hotel with the support of His Highness Sheikh Nakhayan Mubarak al-Nahayyan, UAE Minister of Education and President of Zayed University. An ensemble playing "the music of Petropolis" appeared in Leningrad in 1990. Victories at international competitions in Manchester (1990) and Amsterdam (1993) earned him great fame. This was followed by tours in Europe, the USA, Israel, Turkey, and finally the current tour is the first in the Middle East. “Guys, everything was just super,” Elena told the musicians at the end of the concert. In fact, this event made a lasting impression even on spoiled connoisseurs who often visited the St. Petersburg Philharmonic. Including due to the visual range, which contained in the first section views of the Hermitage and the Petrodvorets, and in the second - arctic landscapes. Vivaldi's sonatas (as well as the music of Galuppi, Khandoshkin, Bortnyansky and Telemann) mysteriously intertwined both with the eastern interior of the concert hall and with the background images of icy mountains or reindeer sleeping in the snow accompanying the melody. But the main feature of the concert, of course, was a peculiar manner of performance. Along with recognized masterpieces, the now forgotten works of court composers of the first half of the 18th century sounded. Baroque melodies were born violin, cello and harpsichord, made by medieval technology. However, the musicians Nikolai Nasonov (traverse flute), Andrey Reshetin (baroque violin), Sergey Filchenko (baroque violin), Dmitry Sokolov (baroque cello) and Irina Shneerova (harpsichord) do not hide the fact that 15 years of experience playing abroad enriched them with non-standard approaches to the classics. Therefore, if they were to teach now at their native Conservatory, they would do this completely different from their teachers. But, according to the musicians themselves, their alma mater is not yet ready for innovation. Ivan Sheiko-Little |
