Critiques de concerts

Dernières critiques de concerts :

Récital avec Cathy Bell

8.10.2015,Handel House, Londres, http://theidlewoman.blogspot.co.uk/2015/10/raging-roland-cathy-bell.html

« The programme was split equally between Handel (Orlando and Alcina) and Vivaldi (Orlando furioso), and Bell was accompanied by two other members of last year’s Handel House Talent group: Marie van Rhijn on harpsichord, and Caoimhe de Paor joining them on recorder for a formidably complicated piece of Vivaldi, on which more later. Fittingly, given its source, it was a recital that offered rage and romance in equal measure ».
« Bell took the chance to show off her beautiful, warm low notes right from the start, as well as making the most of the snappy passages of coloratura and fluid runs up and down the scales; but the aria was also notable for its terrifically jaunty opening. On my CD of the opera, this accompaniment seems to be played by the entire string section, but here van Rhijn gallantly took it on alone: no mean feat, and a foretaste of the impressive standard of her playing throughout. We were still fizzing from that when the recital segued into something considerably gentler: Verdi allori from Handel’s Orlando. Here Angelica’s (reciprocated) lover Medoro asks the trees in their favourite grove to protect their names carved into the bark. Bell switched mood accordingly, the rich undertones of her voice overlaid by a lighter, more romantic touch, and it was an immediate favourite. I particularly liked the way that the harpsichord mirrored the voice in the B section, each weaving in and out of one another ».

Madrigaux de Monteverdi,Les Arts Florissants

18.5.2015, Philarmonie de Paris
http://www.musebaroque.fr/monteverdi-madrigaux8-philharmonie/

« Les partitions instrumentales, apparues depuis le Livre VII, soutiennent la dramaturgie des voix, soulignant la tonalité des sentiments, parfois leur emphase, sans jamais nuire à leur expressivité. Le clavecin de Marie Van Rhijn, subtilement maîtrisé, coordonne ainsi un accompagnement souple, s’accordant aux reliefs mélodiques de la polyphonie ».

Récital avec Randall Scotting

22.03.2015, Handel House, Londres
http://theidlewoman.blogspot.co.uk/2015/03/recital-randall-scotting-and-marie-van.html

« And it wasn’t just the music that made the recital so fun. Scotting started off with a brief introduction to Handel’s situation at the time, and then took the time before or after each aria to put it in context. For example, after Ombra mai fu he told us the story about Handel having borrowed much of this famous aria from Bononcini’s setting of Ombra mai fu (he didn’t add that Bononcini’s aria was itself taken from a libretto originally set by Cavalli). In a rather nice touch, van Rhijn played Bononcini’s version on the harpsichord so that we could directly compare »

« I know very little about harpsichords, but even I could see that Marie van Rhijn played with poise, crispness and grace. Her skill was most evident during her rendition of an improvised harp solo at the end of O Lord whose mercies numberless. I think everyone in the room was startled by the change in the sound of the instrument, which with the help of a little felt damper suddenly took on the deeper, fuller sound of a true harp (I had no idea that 18th-century harpsichords had so many options). However, the more challenging job must have been keeping up with some of the formidable flurries of notes in the arias, which she did with aplomb. I feel on slightly firmer ground talking about the singing. Being a newbie, I hadn’t come across Scotting before and wasn’t sure what to expect; but Nella terra in Ciel displayed a richly textured, full voice with a somehow buttery quality, and a brief flash of more powerful high notes at the end.  »