The genial inventions of Stravinsky offered a stark contrast to Zimmermann’s Violin Concerto. Between Carolin Widmann’s fierce realisation of the solo part and Mr Roth’s tightly focussed rhythmic sensibility, the concerto seemed less a performance than a blunt-yet-effective argument in favour of a neglected work. It opened with impressive force: the dense sound and wiry momentum of the orchestra provided an engagingly turbulent setting for a violin part that seemed less interested in showy virtuosity than in direct attacks on small, striking phrases.

Philharmonie. Mahler: Symphony No. 3 in D minor. Susan Graham, alto. GewandhausChor and Kinderchor. Boston Symphony Orchestra. Andris Nelsons, conductor. Berlin Musikfest 2018

Historische Stadthalle Wuppertal. Klavier-Festival Ruhr. Ludwig van Beethoven, Sonata para piano número 10 en sol mayor, opus 14/2, Sonata para piano número 8 en do menor, opus 13 (Grande Sonate pathétique), Sonata para piano número 29 en si bemol mayor, opus 106 (Grosse Sonate für das Hammerklavier). Solista Igor Levit (en sustitución de Maurizio Pollini por enfermedad). 100% del aforo

The idea of music as a kind of spiritual communion between audience and orchestra recurred in various guises throughout the twentieth century, and the ritual significance of the concert performance is one of the themes that will be explored in subsequent programmes at this year’s Musikfest. Yet if Le Sacre was a compelling illustration of a ritual, the Boulez piece was far closer to a ceremony unto itself, one in which the audience functioned as both witnesses and initiates. With its different groups, its rigorous structure and its solemn formulations, the evening’s performance of Rituel in memoriam Bruno Maderna had all the force and profundity of a rarely-performed rite.

Uno de los momentos culminantes fue el de la extraordinaria interpretación de la bailarina gala Adeline Pastor con temas de Piaf y propios al estilo de la cantante francesa, la más célebre del siglo XX en su género. Tras entonar con gran emoción el Hymne à l'amour, bailó sobre puntas dando volteretas con mucha fuerza y expresividad Non, je ne regrette rien. ¡Inolvidable!!! El bailarín moldavo Denis Untila (también destacado coreógrafo, como vimos más arriba) se sumerge en el papel de Gilbert Bécaud e ironiza con ágiles movimientos sobre la mentalidad estrecha y acomodaticia de la sociedad pequeñoburguesa con la famosa canción de Jacques Brel