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CORUL Si ORCHESTRA FILARMONICII “GEORGE ENESCU” dirijor GENNADY ROZHDESTVENSKY Sala Palatului

Venerabilul Maestru Ghennady Rozhdestvensky a reusit sa readuca in auzul melomanilor, sambata seara – printr-o gestica de o discretie aproape austera, dar de o precizie si plasticitate incomparabile – sonoritatea de odinioara, caracteristica Orchestrei Filarmonice George Enescu: omogena, stilata, expresiv si bogat nuantata. Atat orchestra, cat si Corul – pregatit de Iosif Ion Prunner – au raspuns sugestiilor acestui veritabil aristocrat al baghetei, nu doar cu promptitudine, dar si cu bucuria vadita de a canta, depasind limitele rutinei. De aceea, fiecare lucrare a avut farmec si personalitate proprii.

Mai putin diversificata in privinta nuantelor si a contrastelor ritmicodinamice, muzica Poemului Vox maris, op. 31 de George Enescu a lasat impresia unei mari statice, mai degraba calme decat “agitate”, asa cum si-o imagina compozitorul. Pana si in clipele de transcendenta, sunetul orchestrei a avut consistenta marmoreana as spune. In schimb, dozajul artistic, progresiv, al crescendo-urilor, interventiile extravertite sau cele diafane ale corului, pasajele acute ale vocii de tenor si tipatul ascutit al sopranei au creat un binevenit joc de intensitati, evitandu-se astfel riscul monotoniei.

Exuberanta, cu modifi cari neasteptate de tempo, agogica, ritmica, expresivitate, partitura Concertului nr. 1 pentru pian si orchestra (1911-1912) de Serghei Prokofiev a benefi ciat de interpretarea seducatoare a Viktoriei Postnikova: poetica, imaginativa, subtila, dar si energica, sigura pe sine si pe autenticitatea redarii sensului intrinsec al muzicii. Arpegierile si formulele ritmico-armonice, ca si pasajele de bravura si vigoare pianistica din partile extreme – Allegro brioso si Allegro scherzando – s-au succedat in perlaje volatile, ca si cand nu ar fi fost atinse de maini omenesti, in timp ce cantabilitatea celor din Andante assai a avut consistenta esentei spirituale captata in sunete. Impresia s-a prelungit in piesa Sunetele toamnei de Ceaikovski, oferita ca bis.

Gennady Rozhdestvensky s-a dovedit a fi si un acompaniator perspicace, empatic, sesizand cu precizie intentiile solistei – fapt probat cu prisosinta in ultima lucrare din program: oratoriul Ivan cel groaznic, op. 116, pentru narator, mezzosoprana, bariton, cor mixt, cor de copii si orchestra, scris tot de Prokofiev, initial (1942-1945) ca muzica pentru filmul cu acelasi titlu de Eisenstein. Autorul utilizeaza aici aproape toate “directiile” pe care le recunoaste ca fiind specifice stilului sau componistic: “inventivitatea, elementul motric, lirismul si grotescul”. Din imbinarea lor, Porkofiev construieste o fresca gigantica a istoriei sangeroase a primului cneaz moscovit, Ivan al IV-lea (1530-1584), auto-intitulat “tar.”

Pe langa inventivitatea armonico-melodica si orchestratia luxurianta, pe langa motricitatea prezenta inca de la primele masuri, investita apoi cu rol de leit-motiv, pe langa ironia si grotescul momentelor in care parodiaza aroganta si grandomania tarului, pe langa lirismul melodiilor populare rusesti – auzite la cor si orchestra deopotriva, mereu in opozitie cu partile dramatice -, Prokofiev insereaza o serie de secvente polifonice, si altele amintitnd de ritmul sacadat al cantatei Carmina Burana de Carl Orff. Nu o data, scriitura corala confera ansamblului rezonanta de bronz a vestitelor coruri ale cazacilor de pe Don, dar si o tenta liturgica, atunci cand e invocata instanta divina.

Cu o arta desavarsita, Ghennady Rozhdestvensky a mentinut toate aceste segmente compozite intr-un echilibru perfect logic, armonios, implicandu-se, cu talent actoricesc si umor, in alternanta cu naratorul Igor Chernevich, chiar in rostirea frazelor destinate tarului. Vocea bine timbrata si frazarea inteligenta ale mezzosopranei Larissa Diadkova, glasul baritonului Alexei Tanovitski, impresionat prin volum si plasticitatea frazarilor – desi aparitia lui a fost de scurta durata, in finalul oratoriului -, muzicalitatea si dictia impecabila ale Corului Filarmonicii, precum si acuratetea corului de copii al Radiodifuziunii, pregatit de Voicu Popescu, au contribuit la reusita deplina a concertului dirijat cu autoritate aristocratica de catre Ghennady Rozhdestvensky, in seara zilei de 10 Septembrie.

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