ISCHIA. Pleasant and interesting was the young pianist Irene Veneziano’s recital, in the concert hall “Mortella” William Watson Foundation, in Forio, in occasion of the chamber music season, which Lina Tufano has been ably promoting since some years, with well-deserved success, first of all under the point of view of people flow.
The audience was amazed by the very bright second encore, the “Toccata” by Saint-Saens, a piece which required a lot of energies, that we didn’t think be kept by the pianist at the end of her performance, and after a very gentle and dreamy first encore by Debussy, which had not marked about her grit.
Here, as before in Chopin – Scherzo op. 31, Polonaise op. 44, Ballade op. 23 -, there was a great disclosing of sounds, which were well-shaped and controlled with classical moderation, minded melodic relinquishment, outlines clearness, and even power and mass contrast, if necessary. The Saint-Saens’ piece was vivid and clear-cut with measure, absolutely in contrast with the evasive prelude by Debussy, which preceded it: briefly the French music history “after the battle”, paraphrasing and summarizing Mario Bartolotto’s essay about this subject. In Chopin pieces, instead, we could find out the impeccable precision of the most famous and expected passages, in other words reassuring. “El amor y la muerte” by Granados and the “Serenade” by Schubert-Liszt were a good example of tone-colour elegance, preciosity of style, quiet sonority: everything culminating in the Spanish Rhapsody, where precision and refinement blended, as always everybody would, listening to Liszt. So, no emphasis, but pure statement with delicate colours, moderate strength and volume: really not bad in the uproar of the bicentenary which is turning to end.
Massimo Lo Iacono
Tuesday October 11th, 2011