Mariangela Vacatello - Facets - COMPACT DISCS [CD]
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... and even when Ginastera gives you one piece with a close family likeness to another, you listen with a sense of renewal thnks to performances by Mariangela Vacatello of a super zest, brio and imaginative scope... she has technique in spades, making her a front-runner with Argerich's legendary live Three Argentinian Dances... no praise could be high enough for Vacatello's achievement. (Gramophone 2016) In the two decades since her professional debut, pianist Mariangela Vacatell has brought her virtuosity, passionate interpretations, and magnificent musicality to diverse global audiences. She is recognized worldwide as an exceptionally gifted artist, reflected in the numerous awards and effusive reviews she has received for both her live performances and recordings for Brilliant Classics. Her performances are regulary broadcasted by prestigious Radio Stations worldwide. The Second Prize at the Franz Liszt International Piano Competition in 1999 at the age of 17 catapulted her towards an international career as a soloist, performing at Wigmore Hall, Bridgewater Hall in Machester, Walt Disney Hall, Montpellier Festival, Carneige Weill Hall in NYC, Oriental Centre in Shanghaj, She has since appeared regularly with such prominent orchestras as the Teatro all Scala Philharmonic Orchestra, Accademia Nazonale Santa Cecilia in Rome, RAI Turin, Lithuanian Symphony, Stutgerter Philharmonics, Norwestdeutsche Orchestra, Johannesburg Philarmonic, InchHaydInch in Trento and Bolzano, Orchestra di Padova e del Veneto, Zagreb Philhamonia, Pannon Philharmonic, Moldavian Radio Television, RSI Orchestra, Belgrade Philarmonic Orchestra, Hartford Symphony, Colorado Spring Symphony Orchestra, Prague Chamber Orchestra.
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- GenreClassicalDescription... and even when Ginastera gives you one piece with a close family likeness to another, you listen with a sense of renewal thnks to performances by Mariangela Vacatello of a super zest, brio and imaginative scope... she has technique in spades, making her a front-runner with Argerich's legendary live Three Argentinian Dances... no praise could be high enough for Vacatello's achievement. (Gramophone 2016) In the two decades since her professional debut, pianist Mariangela Vacatell has brought her virtuosity, passionate interpretations, and magnificent musicality to diverse global audiences. She is recognized worldwide as an exceptionally gifted artist, reflected in the numerous awards and effusive reviews she has received for both her live performances and recordings for Brilliant Classics. Her performances are regulary broadcasted by prestigious Radio Stations worldwide. The Second Prize at the Franz Liszt International Piano Competition in 1999 at the age of 17 catapulted her towards an international career as a soloist, performing at Wigmore Hall, Bridgewater Hall in Machester, Walt Disney Hall, Montpellier Festival, Carneige Weill Hall in NYC, Oriental Centre in Shanghaj, She has since appeared regularly with such prominent orchestras as the Teatro all Scala Philharmonic Orchestra, Accademia Nazonale Santa Cecilia in Rome, RAI Turin, Lithuanian Symphony, Stutgerter Philharmonics, Norwestdeutsche Orchestra, Johannesburg Philarmonic, InchHaydInch in Trento and Bolzano, Orchestra di Padova e del Veneto, Zagreb Philhamonia, Pannon Philharmonic, Moldavian Radio Television, RSI Orchestra, Belgrade Philarmonic Orchestra, Hartford Symphony, Colorado Spring Symphony Orchestra, Prague Chamber Orchestra.ArtistMariangela VacatelloTitleFacetsFormatCDLabelStradivarius
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A new and precious chapter is added to the collaboration between the Stradivarius record company and the famous pianist Mariangela Vacatello. After the ample response of the Facets CD dedicated to Schumann and Chopin, Stradivarius is now pleased to announce the of the CD Scriabin The Complete Piano Sonatas vol.1, the first volume of the new project that will see Mariangela Vacatello perform the entire cycle of piano sonatas of the Russian composer and pianist Alexander Scriabin. Scriabin's Piano Sonatas (the ten to which the composer assigned an opus number) date from between 1891, during the last months of his studies at the Moscow Conservatory, and 1913, in his final phase dominated by the vast project of the InchSymphonic PoemInch Prometheus (already performed in 1911 without the projection of colours; it appeared in it's entirety in London in March 1915, a few days before the composer's death in April). They thus reflect the composer's entire artistic itinerary from the fiery romantic gestures of Liszt to the dissolution of rationality in the more symbolic esotericism. And so it happens that the musical discourse, rather than being based on an orderly succession of different figures, is transformed into a sort of efflorescence of thematic recurrences between one movement and another (in the First, Third and Fourth) and of selfquotations between the Fifth and the following Sonatas (becoming exacerbated in the Ninth and Tenth), with a network of crossreferences (of trills, fanfares, arpeggios, languid chromaticisms, etc.) that makes it possible to suggest the hypothesis of a single work (as such, monstrously intricate) that embraces the Sonatas from the Fourth to the Tenth as phases of a single spiritual experience, dominated by the mysteriosophic idiosyncrasies of the philosopher and mystic Vladimir Solovyov.
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