Teodor Currentzis
Delen
Available languages: English
Teodor Currentzis is a Greek-Russian conductor famed for the unorthodox operatic interpretations he has issued from the relatively remote cities of Novosibirsk and Perm. The Guardian has called him "the conducting equivalent of Glenn Gould morphed with Kurt Cobain." Born in Athens in 1972, Currentzis studied piano and violin as a child. A prodigy, he entered Greece's National Conservatory at 12, as a violinist, switching to composition several years later. In the 1994 he moved to Russia and began studying conducting with the nonagenarian Ilya Musin at the State Conservatory in St. Petersburg, graduating in 1998. He pointed out that with Greece's long history of military dictatorship, including the one in force when he was born, a move to Russia was in no way surprising, and indeed he has become an icon of intellectual freedom in the music sphere among progressive forces in his adopted country. He is a naturalized Russian citizen. In 2004, while he held the position of music director of the Novosibirsk State Opera and Orchestra, Currentzis founded and became artistic director of MusicAeterna, leading both the choir and ensemble in period-style performances. In 2006, he also started the Territoria Modern Art Festival in Moscow. Remaining in Novosibirsk until 2010, Currentzis became the artistic director of the Perm State Opera and Ballet Theater. He was the recipient of the Golden Mask theatrical award, and he received awards for his performances of Henry Purcell's The Indian Queen, Alban Berg's Wozzeck, Sergey Prokofiev's Cinderella, and Wolfgang Amadeus Mozart's Le nozze de Figaro. Currentzis remains director of MusicAeterna and has toured Europe with new productions of Purcell's The Indian Queen and other Baroque operas. He made several recordings of the Alpha label, beginning in 2008, and including one of the Shostakovich Symphony No. 14, Op. 135, one of his few non-operatic releases. But it is his approach to Mozart that has made headlines and attracted the attention of the multinational Sony label. With blistering tempi, furious attacks influenced by his historical Baroque performance background, and an international group of singers handpicked to keep up with him, Currentzis' cycle of Mozart operas (Don Giovanni was recorded in Perm in 2016) has excited, and to an extent polarized, critics and listeners. Currentzis, who reportedly changes romantic partners annually like some do their automobiles, has stated that he is happy in Perm, in the Ural mountains, and has no plans to leave.© TiVo
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An album, a symphony: you would think that we had returned to the days of the Long Play, and the era of Mravinsky, Doráti, Markevitch, Karajan as well as many other performers and interpreters who have marked the discographic history of the last symphony from Piotr Ilitch Tchaikovsky. The album cover also seems to confirm it: it brings to mind the old RCA covers from the 50s and 60s. Sony Classical, being very supportive of the artistic endeavours of the Greco-Russian master, didn't hesitate to bring out a roughly 45-minute album - they had done better with the Rites of Spring (2015), which was feted in the press. Here, Teodor Currentzis continues his exploration of Tchaikovsky's world, with the Pathétique, putting the accent on the dynamic contrasts, sometimes naturally, sometimes by technical means (adagio lamentoso), and bringing to bear some methods that are normally specific to pop music. He exploits the sombre tone of the work, even above its rhythmic energy, and looks to create atmospheres that one could often call morbid. For record-lovers, this release is a great opportunity to revisit his discography, and for all other ardent Qobuz users it is an opportunity to rediscover this true emblem of the orchestral repertoire. © TG/Qobuz
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With Symphony No.6 in A Minor "Tragic" written in 1904 (the title, for once, is not a publisher's gimmick, but was indeed given by Mahler in the programme for the first performance in Vienna in 1906), Mahler almost returns to the classical symphony format; we find more voices in the score (a technique that he had already used in No. 5) and a four-movement structure (whereas No. 5 was articulated in five movements thrown into three "parts", with the absence of a programme or philosophical content). Admittedly, the orchestra remains huge, with four woodwinds, eight horns, and six trumpets, not to mention an impressive arsenal of percussion instruments including alpine bells, hammer and xylophone, which he never used elsewhere; in this respect, Mahler contributed to putting an end to the late romantic trend of gigantic works for titanic orchestras. It must be said that the last movement, which lasts at least half an hour, is of a truly tragic expression with its indelible darkness. This frightened the critics, who found the work somewhat bloated. It is therefore up to the conductor to make the score as transparent as possible, the contrapuntal lines readable and the orchestral colours perceptible through the orchestral immensity. Equipped with his MusicAeterna, Teorod Currentzis embarks on the adventure. © SM/Qobuz
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