Sunday 9th December, 3pm
|Corelli||Concerto Grosso in G minor, Christmas Concerto||15’|
|Vivaldi||Cello Concerto in G minor RV 416||10’|
|Manfredini||Concerto Grosso in F, Christmas Concerto||10’|
|Vivaldi||Concerto for Violin & Cello in F RV 544||10’|
|Torelli||Concerto in G minor, Christmas Concerto||10’|
|Handel||Pastoral Symphony from Messiah||3’|
|Vivaldi||Autumn and Winter from The Four Seasons||17’|
Nicola Benedetti has established herself as one of the most charismatic of young performers: an international superstar with a major record contract and ‘the complete assurance of a mature soloist’ (The Independent). Together with the European Union Chamber Orchestra, she performs an exuberant baroque programme featuring delightful seasonal highlights: the peacefully pastoral Christmas Concertos of Corelli and his contemporaries, and Vivaldi’s popular Winter from The Four Seasons.
Review by Diane Parkes, BehindTheArras:
Click here for full review
… “Benedetti then returned to round off the afternoon with two of Vivaldi’s Four Seasons – Autumn and Winter. Her understanding and production of the pieces was impressive – you couldn’t help but wish she had time to add in Spring and Summer.
She bowed to the audience’s wishes for a short encore but returned to the Vivaldi, repeating an excerpt from Winter already played. Fair enough it was lovely but it was also a missed opportunity to dazzle the audience with a different piece of music.” …
Review by Katherine Dixson, BachTrack:
Click here for full review
… “Benedetti’s regular chamber music partner Leonard Elschenbroich presented our first Vivaldi of the day, the Cello Concerto in G minor, with beautiful tone and virtuosity. With delicate orchestral backing, Elschenbroich executed ascending and descending scales galore, fast and furious in the Allegro then controlled and lament-like in the Largo. Following the EUCO’s pretty rendition of Manfredini’s Christmas Concerto, Benedetti and Elschenbroich duetted in Vivaldi’s Concerto for violin and cello in F major, which has a subtitle that translates as “The world turned upside-down”. The composer had played a joke on his soloists by writing their parts in the wrong clef, but due to his skilful composition it was possible to swap parts; then, with a quick shift in pitch, it would work. Sounds a bit complicated to me, but there were certainly no issues this afternoon, just plenty of energy and verve, with the violin and cello interweaving and echoing, and extra texture added by the orchestra. The final Allegro clearly gave lots of scope for the soloists to show off, bringing the first half to a suitably upbeat conclusion.” …