New Vivaldian perspectives on Vespers of Arnadí

To get the concerts of The harmonic inspiration by Vivaldi corresponding to the cycle of The Four Seasons That they sound like something new means many things. First, that the Venetian composer's pieces are timeless and allow for many readings and rereadings. And second, that for this to happen, talent, imagination, great technical ability, and a willingness to work are essential. This combination came together in Arnadí's Vísperas, once again under the enthusiastic leadership of Dani Espasa. And also, of course, with the prodigious performance of the soloist, violinist Farran Sylvan James.

After two enticing concerts (RV 156 and RV 541), for strings and for violin and organ, the time came to The Four SeasonsIt was immediately clear that we were witnessing a version articulated on criteria that were not only philological, but groundbreaking, yet without false histrionics.

The rapport between Farran Sylvan James and his fellow musicians was evident from the very first bars of Springespecially in the dialogue between the soloist and the first and second violins. But the most brilliant aspect of all was the articulation, the judicious balance of contrasting dynamics, and the expressive accentuation in each and every passage of the score. Even with tempi which broke with what the tradition of so many concerts and recordings of the piece had etched into our auditory memory. In this sense, Espada's work resulted in sensations similar to those produced by those "philological" recordings conducted by conductors like Harnoncourt or Biondi at the time their discographies appeared. New perspectives, ultimately, on scores that never grow tiresome when the discourse that underpins them is based on sound arguments.

Stylistic precision was the other highlight of the concert, with splendid results in the execution: from the opening attacks of the movements to their expansive and powerful finales. There was even a touch of elegance in some moments of interpretive humor, always with a strong connection between soloist, instrumental ensemble, and conductor.

The audience that packed the Palau de la Música to capacity on Sunday afternoon was mostly first-timers: the applause between movements proved it. Which, on the other hand, isn't a cause for concern if silence (both human and telephone) is maintained throughout the evening. And so it was.