In the past, “Wetten dass…?” Or “one will win”, today the Eurovision Song Contest or New Year’s concert of the Vienna Philharmonic Orchestra is still: when at least three countries broadcast a live program at the same time in the European Broadcasting Union network, the sound has been heard since 1954 in Eurovision the first eight tapes of Marc-Antione Charpentier’s Te Deum of 1690.
The Magnificent March of Prelúde also inaugurated the traditional Styriarte concert at Stainz Castle Church, which has been performed four times this year. And with it soared the “sound cloud” that can be heard and seen in more than 20 locations across the country thanks to the proven collaboration between the festival and ORF.
Charpentier’s Grand Motet was given a golden celebration at first directly by three great natural trumpets for the famous bang, and the Styriarte Festival orchestra with musicians from all over Europe – led by avid violinist Maria Kubizek – was also in the other parts and in a continuous well cast.
On the platform, of course, Jordi Savall is a guarantee of authentic, conscious sound as well as refreshing gameplay fun. Both came alone in Charpentier’s various Te Deum in praise of God and the Sun King, Louis XIV, and then in Bach’s Magnificat of 1724. In the cantata, which was as sophisticated as it was demanding, Arnold Schoenberg’s choir did not perform as confidently as usual. In the quintet soloist, sopranos Miriam Fürsinger, Miriam Cotroitz and baritone Matthias Winkler provided the highest level not reached by William Shelton (counter) and Martin Platz (tenor).
The apparition was Da Pace Domine, an act that Saval had commissioned from Arvo Pärt with a peace party in Barcelona. A quiet memorial to the victims of a series of train attacks in Madrid in 2004 was addressed to those in Ukraine.
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