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"value" => "<p class="text-align-justify"><span lang="HU">Ottorino Respighi (1879–1936) a zenei impresszionizmus egyik jeles olasz képviselője. A kolozsvári közönség ez idáig legtöbbször Respighi zenekari színekben tobzódó </span><em><span lang="HU">Római triptichon</span></em><span lang="HU"> szimfonikus költeményeinek</span><em><span lang="HU"> – Róma kútjai</span></em><span lang="HU">, </span><em><span lang="HU">Róma fenyői</span></em><span lang="HU"> és a </span><em><span lang="HU">Római ünnepek – </span></em><span lang="HU">tapsolhatott, ezen az estén viszont Vlad R</span><span lang="RO">ăceu hegedűművész </span><span lang="HU">érzésteli</span><span lang="RO"> tolmácsolásában</span><span lang="HU">, az olasz zeneszerző ritkán hallható </span><em><span lang="HU">Gregorián hegedűverseny</span></em><span lang="HU">ének régi-új ízeivel ismerkedhetett. </span><span lang="RO">A </span><span lang="HU">középkori egyházi zene archaikus szépségeit idéző </span><em><span lang="HU">Concerto Gregoriano</span></em><span lang="HU">, Respighi modernizmusba vezető, modális fordulatokban bővelkedő egyéni stílusának egyik ékköve. Az 1921-ben komponált gregorián dallamtöredékek ihlette versenymű kezdetét békés áhítat, templomi csendes elmélyülés jellemzi, amelyben a hegedű hangja, akár egy magasba törő imádság lélekből fakad és lélekig hat. A gregorián éneklési gyakorlat szerint elképzelhető, hogy a hegedű az előénekes, a zenekar pedig a hívők kórusát képviseli. Vlad Răceu szólistaként a hazai és külföldi pódiumokon ismert hegedűművész, főállásban a filharmónia zenekarának első hegedűse. </span><span lang="RO">Nem csoda, hogy a zenekar tagjai egy </span><span lang="HU">emberként drukkoltak kollégájuk sikeréért, elismerésüket pedig a versenymű elhangzása utáni hangos tetszésnyilvánításban fejezték ki. Vlad Răceu </span><span lang="RO">kiváló hegedűművész</span><span lang="HU">, érett, muzikális</span><span lang="RO"> előadásában a </span><span lang="HU">technikai bravúr és az érzelmi vetület tökéletes harmóniát alkotott.</span><span lang="RO"> Meleg tónusú, </span><span lang="HU">színekben sziporkázó, éneklő hegedűjátékát magabiztosság, simán sikló töretlen vonalvezetés, ragyogó virtuozitás és magasztos áhítat jellemezte. A kürtök ünnepi fényében tündöklő </span><em><span lang="HU">Alleluja</span></em><span lang="HU">-tétel Istent dicsőítő örömhangulata és Vlad R</span><span lang="RO">ăceu </span><span lang="HU">virtuóz hegedűjátéka felvillanyozta a közönséget. A ráadásként felcsendülő Bach </span><em><span lang="HU">1. hegedűszonáta </span></em><span lang="HU">Adagio</span><em><span lang="HU">-</span></em><span lang="HU">tételének stílusos megszólaltatásában az értelem és érzelem harmóniája találkozott.</span></p><p class="text-align-justify"><span lang="HU">Gioachino Rossini (1792–1868) könnyed hangvételű operáival már egész fiatalon a fél világot meghódította, alig huszonnégy éves volt, amikor Róma és Nápoly az olasz zene fejedelmévé koronázta. Miután sikert sikerre halmozott, a </span><em><span lang="HU">Tell Vilmos</span></em><span lang="HU"> 1829-es premierje után hirtelen „elhallgatott”, és életének csaknem négy évtizedében a kulináris élvezeteknek hódolt. A hosszas hallgatás alól kivételt néhány zongorára, illetve énekhangra írt darabja, és az 1832-ben komponált, majd az 1841-ben végleges formát öltött </span><em><span lang="HU">Stabat Mater</span></em><span lang="HU">, Rossini vokál-szimfonikus alkotása képez, amelyet a 19. századi olasz egyházzenei stílus egyik remekműveként tartunk számon. Vallásos tartalma ugyan nyilvánvaló, mégsem tagadható le Rossini csodálatos dallamainak operaszerűsége. Egyes kritikusok a gyászos szöveg és a derűs zene közti ellentétet kifogásolják, mondván, hogy a </span><em><span lang="HU">Stabat Mater</span></em><span lang="HU"> sokkal inkább a zenés-színházi, mintsem a templomi zenével köthető össze. A kritikáktól eltekintve, szerintem a lényeg, hogy ezen az estén David Crescenzi vezényletével a zenekar, az énekes szólisták – Egyed Apollónia (szoprán), Iulia Merca (mezzoszoprán), Bardon Tony (tenor) és Mihai Damian (bariton) – és a Cornel Groza által betanított énekkar tolmácsolásában a tízrészes </span><em><span lang="HU">Stabat Mater</span></em><span lang="HU"> magában hordozta a húsvéti történet mély drámaiságát és vigasztaló örömét is. Kiemelném a </span><em><span lang="HU">Quis est homo</span></em><span lang="HU"> duettben a szoprán és alt érzésteli, egymást kiegészítő összhangját, a mély átéléssel énekelt </span><em><span lang="HU">Pro peccatis </span></em><span lang="HU">basszusária moll és dúr szakaszának ellentétes karakterű tolmácsolását, a </span><em><span lang="HU">Sancta Mater </span></em><span lang="HU">kvartettben a sorra belépő énekesek és a klarinétszóló dialógusát, az </span><em><span lang="HU">Inflammatus </span></em><span lang="HU">kóruskíséretes szopránária magasba törő drámaiságát. Sajnáltam, hogy az operás szárnyalással énekelt </span><em><span lang="HU">Cujus animam</span></em><span lang="HU"> ária virtuóz kadenciájában a tenor adósunk maradt a magas</span><em><span lang="HU"> </span></em><span lang="HU">Desz- hanggal. Egészében véve, emelkedett hangú, meghatóan szép előadás volt, mégis, kiemelkedően szépek az énekkari részek voltak. </span></p><p class="text-align-justify"><span lang="HU">Katartikus pillanatként a </span><em><span lang="HU">Quando corpus morietur</span></em><span lang="HU"> kíséret nélküli a cappella kartételt említeném, amikor a kristálytiszta szólamok mennyei harmóniáját csodálva, beleremegett az ember lelke. A filharmónia sokadszorra visszahívott vendége David Crescenzi biztos kezű olasz karmester Rossini </span><em><span lang="HU">Stabat Mater</span></em><span lang="HU">ének</span><em><span lang="HU"> </span></em><span lang="HU">tökéletes ismeretében partitúra nélkül, mély átéléssel, olaszos lelkülettel vezényelte a fiát sirató Fájdalmas Szűzanya zenébe ültetett történetét, amelyben a bánat és öröm, a húsvét ünnepének kettős érzelme fonódott össze. Annak idején, Rossini </span><em><span lang="HU">Stabat Mater</span></em><span lang="HU">ének párizsi bemutatóján a nézők között Heinrich Heine költő is ott ült, aki elragadtatásának adott hangot. Szerinte ez a mű „a kereszthalál borzalmait enyhíti”, és általa „a végtelenség érzése körülöleli a mindenséget.”</span></p>"
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