The residence week shows us in autumn, what treasures we owe to lost feudal cultures-now in fifteenth year. And how European ir spirit was in Bavarian ambience. This time, too, programme was given an Italian flair in opening concert: Arias from Munich’s baroque operas by Agostino Steffani and Pietro Torri.
The “Concerto München” played in All Saints ‘ Court of Church of course on “Baroque” instruments, precisely inspired by Johannes Berger as Maestro Al harpsichord and in between at chest organ. Star of evening was soprano Marie-Sophie Pollak.
At beginning, forte of her highly expressive soprano in aria “Non prendo Consiglio” from opera “La Superbia d ‘ Alessandro” by Steffani still sounded somewhat forced. But in “Tassilione” she found a rousing, expressive brio in concert dialogue with Obligatinstrumenten of an exquisite emblematic occupation: oboe (Marine-Amélie Lenoir), bassoon (Sanne vos) and, as a highlight, radiant nature trumpet of Thilo Stein Bauer.
She also refined aria “Sposa Non mio Conosci” from Torri’s opera “La Merope” in dialogue with a deep flute (Sanne vos). In concerto deposits of Evariste Felice Dall ‘ Abaco and Vivaldi, Baroque string ensemble with concert master Dmitry Lepekhov was especially admired.
Virtuosity was self-evident-but not Trump. In contrast to foreground brilliance of sound of stronger, modern instruments, especially in Vivaldi Concerto for four violins, historical instruments unfolded ulterior charm of a soulful, intimate sound image.
